unit 1 lessons MAPEH 8 QUARTER ONE LESSONS

quarter 1 MAPEH *

1. MUSIC OF SOUTHEAST ASIA

2. MUSIC OF INDONESIA TRADITIONAL MUSIC IN INDONESIA CAN BE TRACED BACK TO THE TIME OF THEIR ANCESTORS. INDONESIANS BELIEVE IN “BHINNEKA TUNGGAL IKA” THEIR NATIONAL SLOGAN WHICH MEANS “UNITY IN DIVERSITY” IN OLD JAVANESE INDONESIAN MUSIC IS KNOWN FOR ITS DIVERSITY OF STYLES .

3. NUSANTARA IS AN ALL-INDONESIAN MUSIC GENRE THAT AROSE IN THIS ARCHIPELAGO AND EMPHASIZES THE ARCHIPELAGO’S “ INDONESIAN-NESS ” BOTH IN TERMS OF LANGUAGE AND MELODIC STYLE.

4. MUSICAL ELEMENTS OF INDONESIAN MUSIC RHYTHM – A STRONG PATTERN OF SOUND IN MUSIC ; INDONESIAN MUSIC USES AN EIGHT OR 16-CYCLE OFF-TIME OR OFF-THE-BEAT INTERVAL PATTERN. MELODY – THE ARRANGEMENT OF SOUNDS ; INDONESIAN MUSIC USES SLENDRO AND PELOG MUSIC SCALES. FORM – THE DESIGN THAT PROVIDES A COMPOSITION ITS SHAPE AND ARTISTIC UNITY ; USES A REPETATIVE FORM OF MUSIC TIMBRE – THE QUALITY OF SOUND PRODUCED . INDONESIAN VOCAL MUSIC IS DOMINANTLY NASAL IN SINGING.

5. INDONESIAN TONAL SYSTEM SLENDRO PELOG HAS FIVE TONES THE MALE SCALE EXPRESSES SOUNDS OF SADNESS HAS SEVEN TONES THE FEMALE SCALE EXPRESSES FESTIVITY OR CHEERFULNESS

6. INDONESIAN MUSIC MNEMONICS SLENDRO SOUNDS LIKE “SLENDER” WHICH MEANS SLIM OR LEAN. PELOG HAS LESSER TONES SLENDRO HAS SEVEN LETTERS, WHILE PELOG HAS FIVE- THE EXACT REVERSE OF THEIR NUMBER OF TONES .

7. THE GAMELAN MUSIC IT IS THE MOST POPULAR AND MOST IMPORTANT FORM OF TRADITIONAL MUSIC IN INDONESIA . REFERS TO BOTH GONG-BASED ORCHESTRAL ENSEMBLE AND THE MUSICAL STYLE ASSOCIATED WITH IT . IT IS BELIEVED THAT THE GAMELAN WAS CREATED BY SANG HYANG GURU GAMELAN MUSIC IS POLYPHONIC , PRODUCES TWO OR MORE MELODIES SUNG OR PLAYED TOGETHER AND IS USED FOR RELIGIOUS EVENTS SUCH AS WAYANG PERFORMANCE , TRADITIONAL DANCE , OR CELEBRATIONS LIKE A SULTAN’S BIRTHDAY THE WORD “GAMEL” MEANS “TO HAMMER”

8. XYLOPHONES (IDIOPHONES) GENDĒR – PLAYED WITH TWO HANDS, ONE HOLDING A MALLET WITH A PADDED DISK-SHAPED HEAD AND THE OTHER A MALLET WITHOUT A CUSHIONED DISK-SHAPED HEAD SARON – CONSISTS OF SEVEN KEYS MADE OF BRONZE ALLOY USED FOR ALL METAL SOUNDS GAMBANG – A LONG WOODEN XYLOPHONE; THE SAME AS THE GAMBANG INSTRUMENT OF MINDANAO TRIBES

9. GONGS BONANG – PLAYS A MORE ELABORATE VERSION OF THE BASIC MELODY. KENONG – BEATERS ARE LONG, CUSHIONED STICKS. THE MUSICIANS SITS AT THE CENTER OF THE KENONG. KEMPUL – A SET OF PITCHED GONGS. GONG AGENG – MARKS THE END OF THE LARGEST SECTION CALLED GONGAN.

10. DRUMS KENDHANG – PLAYED WITH THE HAND AND HAS SKIN HEADS ON BOTH SIDES

11. TWO TYPES OF GAMELAN JAVANESE BALINESE MORE TRADITIONAL INCLUDES STRINGS AND FLUTES SUITABLE FOR VOCAL ACCOMPANIMENT PLAYED IN PALACES AND TEMPLES HAS A GENTLER STYLE AND LOWER PITCH MODERN/CONTEMPORARY GENRE PERCUSSION DOMINATED MORE OPEN, INFUSES WESTERN MUSIC (RHYTHM, MELODIES, AND INSTRUMENTATION) USES MORE METALLOPHONES THAN GONGS HAS A LIVELIER STYLE AND LOWER PTICH

12. JAVANESE GAMELAN BALINESE GAMELAN

13. ACTIVITY: FROM JAVA TO BALI TITLE JAVANESE BALINESE HAPPY SAD

14. FOLLOW MY WORDS NOT MY ACTION

15. MUSIC OF THAILAND THE WORD “ THAI ” MEANS “ FREE ” THE NAME THAILAND MEANS “ LAND OF THE FREE ” THAILAND MAINTAINS CULTURAL TIES WITH INDIA AND CHINA, THE TWO GREAT CENTERS OF ASIAN CIVILIZATION SINCE THAILAND WAS NEVER CONQUERED BY WESETERN COUNTRIES, POP MUSIC AND OTHER KINDS OF EUROPEAN AND AMERICAN MUSIC HAVE A HUGE IMPACT

16. MUSIC OF THAILAND THAI MUSIC IS BASED ON THE FIVE-TONE OR SEVEN-TONE SCALE SYSTEMS . IT IS USED FOR DANCE, THEATER, AND CEREMONIES . THAI FOLK MUSIC CONSISTS OF SIMPLE SONGS WITH SIMPE MELODIC LINES , AND A SERIES OF NOTES THAT FORM A UNIQUE PATTERN . THAI TRADITIONAL MUSIC IS DIVIDED INTO TWO: CLASSICAL , WHICH IS PLAYED IN ROYAL COURTS , AND FOLK , WHICH INCLUDES MUSIC FROM THE COUNTRYSIDE.

17. THAI ENSEMBLES KHRUEANG-SAI INCLUDES STRING INSTRUMENTS TO ACCOMPANY SINGING AND DANCING ON HOLIDAYS USED FOR INDOOR INSTRUMENTAL PERFORMANCES AS WELL AS FOR ACCOMPANYING THE THAI HOON GRABOOK OR THAI STICK PUPPET THEATER.

18. PIPHAT HAS WIND AND PERCUSSION INSTRUMENTS PLAYED AT COURT CEREMONIES AND THEATRICAL PRESENTATIONS CAN BE PERFORMED WITH HARD MALLETS OUTDOORS AND PADDED HAMMERS INDOORS.

19. MAHORI A COMBIANTION OF PIPHAT AND KHRUEANG-SAI INSTRUMENTS ALSO PLAYED BY WOMEN INSIDE COURTS

20. EXAMPLE OF THAILAND ENSEMBLE

21. ACTIVITY: WHATS THE DIFFERENCE? IN A SMALL GROUP, IDENTIFY THE DIFFERENCES AND SIMILARITIES OF THE ENSEMBLE FROM THAILAND AND GAMELAN MUSIC OF INDONESIA. ANSWER THE GUIDED QUESTIONS BELOW: WHAT ARE THE DIFFERENT CHARACTERISTICS OF THE SOUND THAT THEY PRODUCE? HOW DOES THEIR INSTRUMENTS DIFFER FROM EACH OTHER? IN WHAT ASPECT IN MUSIC ARE THEY SIMILAR?

22. GAMELAN MUSIC OF INDONESIA

23. ENSEMBLE MUSIC OF THAILAND

24. MUSIC OF CAMBODIA CAMBODIA WAS THE CAPITAL OF KHMER KINGDOM OF ANGKOR , A 600-YEAR-OLD EMPIRE THAT RULED SOUTHEAST ASIA. CAMBODIA HAVE ABSORBED AND ADOPTED INDIAN, CHINESE, AND EUROPEAN INFLUENCES WHICH RESULTED IN A DISTINCT CAMBODIAN CULTURE . THROUGHOUT SEVERAL CENTURIES, MUSIC HAS BEEN AN ESSENTIAL COMPONENT IN THE KHMER CULTURE . MOST CAMBODIAN MUSIC FORMS ARE PERFORMED ONLY WHEN A SPECIFIC CULTURAL OCCASION

25. FUNCTIONS OF CAMBODIAN MUSIC PLENGKAR – WEDDING MUSIC PINPEAT – BALLET AND CEREMONIAL MUSIC MAHORI – CLASSICAL ENTERTAINMENT MUSIC; PLAYED BY THE UPPER CLASSES LAKHON BASSAC – MUSIC OF THE MASKLESS THEATER

26. CAMBODIAN MUSICAL ENSEMBLE PINPEAT ENSEMBLE – PLAYED THE CEREMONIAL MUSIC OF KHMER ROYAL COURTS AND TEMPLES . THE ENSEMBLE IS COMPOSED OF 10 INSTRUMENTS OF WIND AND PERCUSSION.

27. PINPEAT INSTRUMENT : ONEAT – WOODEN XYLOPHONES SAMPHOR – TWO-HEADED DRUM KONG VONG – GONGS POSITIONED IN CIRCULAR FORMATION SKOR THOM – TWO HUGE UPRIGHT DRUMS CHHING – FINGER CYMBALS

28. PIN PEAT ENSEMBLE

29. MAHORI ENSEMBLE

30. MUSIC OF MYANMAR MYANMAR RANKED HIGHEST AMONG THE QUICKEST-GROWING TRAVEL DESTINATION IN 2019 , AND MANY SOUTHEAST ASIAN COUNTRIES. ALSO KNOWN AS BURMA THEIR MUSIC IS A FUSION OF DIFFERENT REGIONAL STYLES, INFLUENCED BY THE BRITISH AS A COLONY IN THE 19 TH CENTURY BURMESE MUSICIANS BECAME EQUALLY PROFICIENT IN BOTH TRADITIONAL AND WESTERN MUSIC CONCEPTS AND TECHNIQUES TRADITIONAL MYANMAR MUSIC USUALLY ACCOMPANIES THEATRICAL PERFORMANCES AND SINGING WHERE DRAMATIC PLAYS ARE INTEGRATED WITH MUSIC.

31. CLASSICAL MUSIC ENSEMBLE OF MYANMAR HSAING WAING IT IS A TRADITIONAL BURMESE MUSIC ENSEMBLE THAT HAS BECOME A SYMBOL OF MYANMAR’S CULTURE . THE EARLIEST HISTORICAL RECORD OF HSAING WAING IS IN 1544, WHEN IT WAS PLAYED IN THE ROYAL SERVICE DURING THE TAUNGOO DYNASTY AND IT PROSPERED UP TO THE COLONIAL RULE

32. SAUNG GAUK THE BURMESE HARP “SAUNG GAUK” HAS MORE THAN 5,000 YEARS OF MUSICAL HISTORY . AN ARCHED HARP WITH 14 CHORDS AND A HARDWOOD BODY SHAPED LIKE A BOAT. IT IS COVERED WITH DEER SKIN OR A DRIED COW BLADDER IN WHICH THREE TO FOUR RESONATING HOLES ARE CUT ON A PROMISING ASTROLOGICAL OCCASION.

33. RUBRICS: RELATION OF THE PERFORMANCE TO THE TOPIC – 20 MUSICALITY – 15 CREATIVITY – 10 OVERALL PERFORMANCE – 5 TOTAL – 50 PTS

34. GENERAL INSTRUCTION: 1. WRITE THE LETTER AND THE WORD/S OF YOUR ANSWER ON YOUR PAPER. 2. AVOID ERASURES. 3. ANYONE WHO IS CAUGHT CHEATING WILL FACE THE CONSEQUENCES.

35. MULTIPLE CHOICE A STRONG PATTERN OF SOUND IN MUSIC? TIMBRE B. MELODY C. RHYTHM 2. THE ARRANGEMENT OF SOUNDS. MELODY B. TIMBRE C. FORM 3. WHAT DO YOU MEAN BY “BHINNEKA TUNGGAL IKA”? TO BE UNITED AS ONE UNITY IN DIVERSITY UNITE THROUGH PRAYERS 4. A MUSIC GENRE THAT EMPHASIZES THE “INDONESIAN-NESS”. A. NUSANTARA B. SANTARA C. NUSATRA

36. 5. A TONAL SYSTEM IN INDONESIA THAT USES FIVE TONES. PELOG B. SLENDRO C. GAMELAN 6. A TONAL SYSTEM THAT EXPRESSES CHEERFULNESS. PELOG B. SLENDRO C. GAMELAN 7. A SOUTHEAST ASIAN COUNTRY THAT WAS NEVER BEEN COLONIZED BY THE WESTERN COUNTRIES. MYANMAR B. INDONESIA C. THAILAND 8. WHAT ARE THE TWO TYPES OF TRADITIONAL MUSIC OF THAILAND? CLASSICAL AND ROMANTIC INSTRUMENTAL FOLK AND CLASSICAL

37. 9. _________ MEANS “THE LAND OF FREE” CAMBODIA B. THAILAND C. INDONESIA 10. THE WORD GAMEL MEANS ___________. A. TO PICK B. TO HAMMER C. TO STRUM

38. IDENTIFICATION SLENDRO PELOG 11. HAS _______ 12. THE _______ 13. EXPRESSES SOUNDS OF _______ 14. HAS _______ 15. THE ________ EXPRESSES FESTIVITY OR CHEERFULNESS

39. 16. AN ENSEMBLE FROM THAILAND THAT HAS STRING INSTRUMENTS TO ACCOMPANY SINGING AND DANCING ON HOLIDAYS. 17. AN ENSEMBLE FROM THAILAND THAT HAS WIND AND PERCUSSION INSTRUMENT PLAYED AT COURT CEREMONIES AND THEATRICAL PRESENTATIONS. 18. A COMBINATION OF PIPHAT AND KHRUEANG-SAI. 19. GIVE ONE XYLOPHONE INSTRUMENT FROM INDONESIA 20. GIVE ONE GONG INSTRUMENT FROM INDONESIA

40. ESSAY (21-25) DO YOU THINK THAT LEARNING SOUTHEAST ASIAN MUSIC WILL HELP YOU APPRECIATE AND COMPREHEND IT BETTER? EXPLAIN YOUR ANSWER