Special Program in the Arts 9 - MUSIC BOW.pdf

SPA (Music) Budget Of Work

1. SPA CURRICULUM MUSIC
GRADE 9
Course Description
This is a course in SPA-Music specialization that aims for the learner to demonstrate 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 vis-a--vis Western Medieval/Renaissance, Music Theory I
CONTENT CONTENT STANDARDS PERFORMANCE
STANDARDS
LEARNING
COMPETENCIES
A.PRE-COLONIAL
PHILIPPINES VIS-À-VIS
WESTERN
MEDIEVAL/RENAISSA
NCE
1. Functions of Music in
Daily Life (Philippine &
Western)
Rituals
Worship
Leisure &
Entertainment
Historical and
Geographical
Background
The learner…
demonstrates an
understanding of
cross-cultural
comparison between
Philippine indigenous
and
Medieval/Renaissanc
e music.
The learner…
performs
Philippine
indigenous and
Medieval/Renaissa
nce music based on
its functions to daily
life.
The learner…
1. distinguishes the
different functions of
Indigenous music in
Philippine and
western setting.
2. displays familiarity
in various
performance practice
of Philippine and
Western music.
3.outlines the
SPA_M
U9-Ia-1
SPA_M
U9-Ib-2
SPA_M
1

2. 2. Personages
Philippines: Ritualists
(Babaylan, Mumbaki,
Albularyo, etc.) Gawad
Manlilikha ng Bayan
(GAMABA)
Western: Monks,
Troubadours,
Minstrels, Dancing
Masters, Major
Composers on the
Medieval Renaissance
Period
3. Musical Instruments
Philippines: Gongs,
Bamboo, Drums &
Lutes
Western: Recorder
Consort, Psaltery,
Lutes, Viols, Tambor),
4. Form (Musical Genres)
Philippines: Ballads &
Epics, Mimetic Dances
Western: Plainchant,
Madrigals, Secular &
Sacred, Mass, Dance
Suites
B.MUSIC THEORY I
1.Elements of Music :
historical and
geographical
background of
Philippines and
Western countries.
4. analyzes how
socio-cultural
functions and
historical events
affect musical forms
across Philippine and
Western society.
5.distinguishes how
Philippine and
Western music
developed alongside
each other through
finding
commonalities and
differences.
6. demonstrates
skills in playing
actual or simulated
indigenous and
western instruments.
7.applies musical
U9-Ic-3
SPA_M
U9-Id-4
SPA_M
U9-le-5

SPA_M
U-lf-h-6-
8
2

3. 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
(Articulations: legato,
staccato, portamento,
portato),
Timbre (Local
Instrument
Classification,
Hornböestel-Sachs,
Bel Canto, Indigenous
Vocal Styles,
2. Application of the
Elements of Music through
the chosen specialization:
voice and instrument-
playing.
Instrument
Playing/Singing
(Continuation)
Finger
demonstrates an
understanding of
music reading, vocal
techniques, instrument
playing techniques,
and sight reading
skills.
skills for voice and
instrument playing.
SPA_M
U-la-h-1-
8
3

4. positions/Posture
Tone Production &
Resonance
Embouchure
(winds);
bowing/plucking
(strings);
Articulation
Basic Sight Reading
Repertoire Study
Choral Styles
MUSIC GRADE 9 : SECOND QUARTER
Spanish Colonial Period vis- a -vis Baroque, Classic and Romantic Periods, Music Theory I
CONTENT CONTENT STANDARDS PERFORMANCE
STANDARDS
LEARNING
COMPETENCIES
A. SPANISH COLONIAL
PERIOD VIS- A -VIS
BAROQUE, CLASSIC AND
ROMANTIC PERIODS
1. Functions of music in daily
life (Philippine and Western):
Sacred Music
Secular Music
2. Historical & Geographic :
Colonial Expansion & the
Rise of Nationalism
The learner…
demonstrates an
understanding of cross-
cultural comparison
between Philippine and
Western musical
development.
The learner…
performs music
from the Spanish
Colonial Period of
the Philippines,
Baroque, Classical
and Romantic
Periods .
The learner…
1. describes the
different functions of
music in Philippine
and Western setting.
2.distinguishes
Sacred from secular
music.
3.identifies the
historical and
SPA_M
U9-IIa-1
SPA_M
U9-IIb-2
SPA_M
4

5. 3. Personages:
Philippines: Adonay,
Bonus, Illustre
Western:
Troubadours,
Minstrels, Monks,
Major Composers of
the Baroque, Classical
and Romantic
Periods.
4. Musical Instruments:
Baroque, Classic &
Romantic Orchestras
Rondalla Ensemble
5. Music Genres:
Philippines:
Kundiman, Misa,
Balitaw, Danza,
Kumintang, Jota,
Curacha, Habanera,
Sarswela, Komedya,
Pasyon, Subli,
Senakulo,
Panunuluyan, Gozo,
Villancico, Pastores,
Daigo
Western: Oratorio,
geographical
background of
Philippines and the
West.
4. identifies major
composers of the
Spanish Colonial
period in the
Philippines, Baroque,
Classical and
Romantic Periods in
the West.
5.analyzes how
socio-cultural
functions and
historical events
affect musical forms
across Philippine and
Western society.
6.distinguishes how
Philippine and
Western music
developed alongside
each other through
finding commonalities
and differences.
7. applies appropriate
U9-IIc-3
SPA_M
U9-IId-4
SPA_M
U9-IIe-5
SPA_MF
9-IIf-6
5

6. Opera, Sonata,
Symphony, Concertos,
Tone Poem, Program
Music, Art Songs,
(Chansons, Lied, etc.)
B. MUSIC THEORY I
1. Elements of Music
Rhythm (Review of
Simple and
Compound Meter),
Melody (Review of
Major and Minor
Tonality),
Harmony (Basso
Continuo, Figured
Bass, Alberti Bass),
Tempo (Grave, Lento,
Prestissimo,
Ritardando,
Accelerando,
Rubato),
Dynamics(Articulation
s, legato, staccato,
portamento, portato),
Timbre ( Instruments
of the Orchestra
Hornböestel-Sachs,
Bel Canto
2.Application of the
Elements of Music
demonstrates an
understanding of music
theory.
technical skills in
performing Philippine
and Western music.
8. applies musical
skills for voice and
instrument playing.
9.applies of the
elements of music
through the chosen
specialization: voice
and instrument-
playing.
SPA_M
U9-IIg-7
SPA_M
U8-IIa-d-
8
SPA_M
U9-IIe-h-
9
6

7. through the chosen
specialization: voice and
instrument-playing.
Instrument-
Playing/Singing
(Continuation)
Finger
positions/Posture
Tone Production &
Resonance
Embouchure
(winds);
bowing/plucking
(strings);
Articulation
Basic Sight Reading
Repertoire Study
Interpretations
Choral Styles
MUSIC GRADE 9 : THIRD QUARTER
American Colonial Period and Japanese Occupation, Music Theory 1
CONTENT CONTENT STANDARDS PERFORMANCE
STANDARDS
LEARNING
COMPETENCIES
A.American Colonial
Period and Japanese
Occupation
1.Functions of Music in
The learner…
demonstrates an
The learner…
displays familiarity
The learner…
SPA_M
7

8. Daily Life (Philippine,
American and Japanese):
Leisure and
Entertainment
Art Music
Popular Music
2.Historical &
Geographic Background
3.Personages:
Philippines: Abelardo,
Santiago, Molina
National Artists for
Music
Major Composers &
Major Works
American and
Japanese Artists and
Composers
4. Form (Musical Genres):
Philippines: Sarswela,
Kundiman, Bodabil,
Music from the
Japanese Period
Western:
Gesamkünswerke,
Neoclassical, Avante-
Garde, Minimalist
Music, ,
understanding of cross-
cultural comparison
between Philippine,
American and Japanese
musical development.
in various
performance
practice of
Philippine,
American and
Japanese musical
period.
1.describes the
different functions
of music in
Philippine,
American and
Japanese setting.
2.identifies the
historical and
geographical
background of
Philippine,
American and
Japanese period.
3.analyzes how
socio-cultural
functions and
historical events
affects musical
forms across
Philippine,
American and
Japanese society.
4.distinguishes
how Philippine
,American and
Japanese music
developed
alongside each
other through
finding
U9-IIIa-1
SPA_M
U9-IIIb-2
SPA_M
U9-IIIc-3
SPA_M
U9-IIId-4
8

9. Chance/Aleatory
Music, Indeterminacy,
Jazz, Rhythm and
Blues
B. INTRODUCTION TO
MUSIC (Continuation)
1.Elements of Music
Rhythm (Free Meter,
Changing Meter,
Mixed Meter ,
Polymeter),
Melody (Whole-Tone,
Polytonal, Twelve-
Tone),
Harmony (Quartal
Chords, Quintal,
Heptachords,
Hexachords),
Tempo (Grave, Lento,
Prestissimo,
Ritardando,
Accelerando,
Rubato),
Dynamics (extreme
dynamics and
articulations ex.
Fortississimo),
Timbre
(Unconventional
Instruments and
Manners of Playing,
demonstrates an
understanding of music
theory.
commonalities
and differences.
5. applies musical
skills for voice
and instrument
playing.
SPA_M
U9-IIIa-
h-5
9

10. Prepared Piano,
Electronic
instruments, Popular
music instruments)
2.Application of the
Elements of Music
through the chosen
specialization: voice and
instrument-playing.
Instrument-
Playing/Singing
(Continuation)
Finger
positions/Posture
Tone Production &
Resonance
Embouchure
(winds);
bowing/plucking
(strings);
Articulation
Basic Sight Reading
Repertoire Study
Choral Styles
MUSIC GRADE 9 : FOURTH QUARTER
Performance of instrument/voice/choir; Collaboration of the Different Art Fields
CONTENT CONTENT STANDARDS PERFORMANCE
STANDARDS
LEARNING
COMPETENCIES
10

11. A. PROGRAM
PLANNING FOR A
RECITAL
B. APPLICATION OF THE
ELEMENTS OF MUSIC
THROUGH THE CHOSEN
SPECIALIZATION:
1.voice
2. instrument-playing.
C. Instrument-Playing
/Singing (Continuation)
Finger positions/Posture
Tone Production &
Resonance
Embouchure (winds);
bowing/plucking
(strings);
Articulation
Basic Sight Reading
Repertoire Study
Choral Styles
The learner…
demonstrates
understanding of
program planning for a
recital.
demonstrates an
understanding of basic
music reading, basic
vocal techniques,
instrument playing
techniques, and sight
reading skills.
The learner…
stages a recital.
demonstrates
musical skills in
voice and/or
instrument-playing.
The learner…
1. applies
knowledge on music
history to program
planning.

2. displays
knowledge in
performing basic
musical
performances .
3.employs
acceptable rehearsal
methods to good
program planning.
4.applies aspects of
the integrated arts
approach in the
staging music
performances.
SPA-
MU-IIIa-
d-1
SPA-
MU-IIIe-
h-2
SPA-
MU-IIIa-
d-3
SPA-
MU-IIIe-
g-4

11

12. GRADE 9: History and Heritage
MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY
3-4
PM
HERITAGE AND
MUSIC THEORY
INSTRUMENTAL
ENSEMBLE/VOICE/C
HOIR
HERITAGE AND
MUSIC THEORY
INSTRUMENTAL
ENSEMBLE/VOICE/CH
OIR/
HERITAGE AND
MUSIC THEORY
4-5
PM
SOLO INSTR SOLO INSTR SOLO INSTR
INTRO TO HERITAGE:
1st Q: Historical Periods: Pre-Colonial Philippines vis-a--vis Western Medieval/Renaissance, Music Theory I
2nd Q: Spanish Colonial Period vis- a -vis Baroque, Classic and Romantic Periods, Music Theory I
3rd Q: American Colonial Period and Japanese Occupation, Music Theory 1
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, Grove’s 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
12

13. Indigenous Music: Palabunibunyan by Aga Mayo Butocan, Select Transcriptions of Philippine Folk Songs by Lilia
Tolentino (unpublished thesis), Gongs and Bamboo by Jose Maceda, Dictionary of Philippine Musical Terms (UPCE),
Philippine Traditional Music by Kristina Benitez, Tuklas Sining, CCP Encyclopedia, “Mangalimog ako: Finding one’s voice
in Sugidanon (epic chanting)” by Christine Muyco in Songs of Memory in Islands of Southeast Asia , Musika Jornal, Sonic
Orders, Songs of the Babaylan (Grace Nono) Musics of ASEAN, Compendium on the Humanities NRCP
Guitar: Carcassi, Sor, Hal Leonard Guitar Method Books 1 – 3, 2
nd
edition (2002), Mel Bay, Hohmann-Wohlfarth
Winds/Perc.: Rubank, Burakoff, Teaching Music Through Performance in Band
Piano: Czerny Op. 599, Bach Notebook of Anna Magdalena Bach, Seleksiyon and Likha Tugtugin by Augusto Espino,
Score Series by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series, Alfred Piano Series, Hal Leonard
Piano Series, Piano Adventures, The Contemporary Piano Method, Celebration Series
Strings: NAMCYA Violin Series, Suzuki Method Book I, Mel Bay Modern Violin, Hal Leonard Essential Elements for
Strings, Alfred String Builder, Kjosk Essential for Strings, Habits of a Successful String Musician: Full Score
Rondalla: Celso Espejo Rondalla Method by Celso Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Philippine
Rondalla by Angelita Pasamba, Laro-Rondalya by Polvoriza, Muyco, Trangco, and Perez
Choir: NAMCYA Choral Series, Sundry Choral Series (reprint), Koro Leyteno, Philippine Folk Songs by Reysio Cruz,
Hallel by Augusto Espino, Teaching Choral Music (Dawn Collins), Handbook for Beginning Choral Educators (Walter
Lamble), Singing at First Sight Series (Andy Beck), Teaching Music Through Performance in Middle School Choir,
Collaboration in the Ensemble Arts
Website resource: www.giamusic.com, www.teoria.com, www.solfege.org, www.culturalequity.org , www.folkways.si.edu,
www.upethnom.com
13