1. MUSIC LEARNING MODULES 3-4: Music of Palawan
I TARGET GRADE LEVEL: Grade 7
II MODULES 1: Music of Palawan
III TIME ALLOTMENT: 2 Hours
IV OVERVIEW OF THE MODULE
The music of Palawan is a brief survey of the music from different indigenous groups
from Palawan such as the Batak, Tagbanua and Palaw’an. The analysis of the music is done
using the relationship of the music to concepts of soundscape, elemental music, spiritual and
human emotional expressions and language. An application of the kulial (song) culminates the
module through musical composition and performance.
V PERFORMANCE STANDARD
Analyzes musical elements and processes of Philippine music.
Correlates Philippine music to Philippine culture.
Performs examples of Philippine music, alone and with others, in appropriate tone, pitch,
rhythm, expression and style.
VI COMPETENCIES/OBJECTIVES
Analyzes an example of Philippine folk music from Palawan and describe how the
musical elements are used.
Explains the distinguishing characteristics of representative Philippine folk music from
Palawan in relation to history and culture of the area.
Analyzes the relationship of functions of Philippine music from Palawan to the lives of
the people.
Sings accurately representative folk songs from Palawan alone and / or with others.
Performs on available instruments music from Palawan alone and / or with others.
Improvises simple rhythmic / harmonic accompaniments to selected Philippine folk
music from Palawan.
Explores ways of producing sounds on a variety of sources that would emulate the
instruments being studied.
Evaluates music and music performances applying knowledge of musical elements and
style.
2. VII CONTENT/TOPIC
Folk Music of Palawan
Vocal Music: Bagit, Kulial (Songs), Tultul (Epic chant), Ulit (Shamanic chant)
Instrumental Music: aruding (Jew’s harp), babarak (ring flute), suling (banded flute),
basal (gong), kusyapiq (lute), pagang (bamboo zither)
Cultural Context (History and Traditions): Soundscape, Elemental Music, Epics
Composition: Bird songs, Kulial songs, Epics (i.e. Kudaman)
Social Functions: Ritual Music, Music for expressing contrasting emotions, Music for
work, Music for entertainment
Performance Styles / Techniques: Onomatopeia, Bagit Bird Scale (no half steps) and
Kulial Scale (with half steps), Magibut (playing together), Karang (Sung-Spoken dialogue),
Lumbaga (Shamanic chant about the voyage of the soul)
VIII RESOURCES
Readings and Resources:
Palawan Provincial Government. This is Palawan: The New Frontier.
De Leon, Felipe Jr. “Gawad Manlilikha ng Bayan MASINO INTARAY and the Basal and Kulilal Ensemble”
http://web.archive.org/web/20060716025744/http://www.ncca.gov.ph/about_cultarts/cultprof
ile/gamaba/intaray.php
The Arts of Tau’t Bato http://wpu.edu.ph/tautbato/arts/gallery-template.html (article and video)
Revel, Nicole M. (2007). Palawan Soundscape. SOCIAL SCIENCE DILIMAN (January-December 2007) 4:1-
2, 78-90
http://journals.upd.edu.ph/index.php/socialsciencediliman/article/viewDownloadInterstitial/12
38/1273
Revel, Nicole M. (1996). Kudaman: An Oral Epic in the Palawan Highlands. Oral Tradition, 11/1
(1996): 108-132.
http://www.scribd.com/doc/26842427/Palawan-Music (Powerpoint Presentation)
(The Vanishing Batak Tribe)http://www.omniglot.com/language/articles/vanishingbataks.php
Recordings / Videos:
http://www.youtube.com/watch?v=M7a-Hh6VPuc&feature=related (kulial / symbolic lovesong)
http://www.youtube.com/watch?v=zytxR8X8E9Q&feature=related (basal / gong and drum
ensemble)
http://www.youtube.com/watch?v=QGhnUjYvcMU&feature=related (babarak / ring flute)
http://www.youtube.com/watch?v=k1QTjPLRb6k&feature=related (aruding / Jew’s harp)
http://www.youtube.com/watch?v=2dR1e7BGFUo (Kudaman epic excerpt)
http://www.youtube.com/watch?v=Zaf18Y9jVuI&feature=related (dance theatre)
3. IX ACTIVITIES
SOUNDSCAPE: Can you imagine yourself in this shore from the Underground River in Palawan?
What sounds can you hear? If you were to imitate these sounds, how would you do it? Will you
use your voice? Will you use instruments?
Underground River Entrance. Copyright 2011 by the author
K-W-L Chart: Write what you currently know about the music of Palawan under column 1 and
what you want to know about the music of Palawan under column 2.
Music of Palawan
What I want to
What I Know What I've learned
Know
Listen to examples of Palawan music from youtube. Was your improvisation similar to the
music of the people of Palawan? How similar or different were your music? Why do you think
so?
4. Here are some musical instruments used by the people of Palawan.
Pagang (zither), Kusyapiq (lute) babarak and suling (flutes) basal (gong). Copyright by the
author.
Palawan music is closely linked with nature and its expression is highly influenced by language
such as the use of onomatopoeia or the imitation of natural sounds. Below are examples of the
different alphabets used by the various ethnic groups from Palawan:
5. Tagbanua and Palaw’an script. Copyright by the author
Read the article on Soundscape by Revel (2007) or The arts of Tau’t Bato by Dadaeg (2003) and
complete the concept map of Palawan music.
Socio-
Musical
historical
Forms
Context
The Music of Palawan
Performance Musical
Techniques Context
6. GUIDED LISTENING:
Read the segment on poetic creativity by Revel (2007). Then, listen to an example of a kulial
song from the resources segment.
a. What is the function of the music? What do you think is the message of the music?
b. Describe the instruments / voice quality used. How was the music performed? Was it effective
in bringing about the message? What instrumental substitutes can be used using environmental
materials present in the classroom?
c. How were the varied musical elements (timbre, dynamics, rhythm, pitch, form) used in
bringing about the message of the music?
MAKING YOUR OWN KULIAL: Using the major scale (CDEFGABC), compose an eight line kulial
expressing contrasting emotions such as happiness and sadness.
EXTENSION ACTIVITY: Write the words of your composed kulial on column 1. Then decode your
own kulial composition using either the Palaw’an or Tagbanua alphabet. Write your coded kulial
on column 2.
My Kulial
Tagbanua / Palaw'an
NEED TO KNOW: Want to know more of Palawan’s music? Write to
Jocelyn Fabello, Cultural Officer Palawan Museum, joeyfabello @yahoo.com
7. X ASSESSMENT
Rubrics for Simple Notated Musical Work
Basic: Incomplete composition, difficult to read with only half of the musical elements
Developing: Basic and legible with half of the required musical elements
Approaching Proficiency: Somewhat creative and legible, most musical elements
complete
Proficient: Creative, easy to read, complete musical elements
Rubrics for Performance of Creative Work
Basic –Unfocused tone, erratic rhythm, unstable pitch, inconsistent phrasing, dynamics
and shows insensitivity to style and context
Developing: Focused tone but inconsistent in extreme range, some repeated errors in
rhythm and pitch, consistent phrasing, discernible dynamics, some nuances in style as
suggested by the score/teacher.
Approaching Proficiency: Focused and clear tone in normal range, accurate rhythm and
secure pitch with isolated errors, accurate and consistent phrasing, accurate dynamics,
with some nuances in style as suggested by the score/teacher.
Proficient: Focused, clear tone all throughout, accurate rhythm and secure pitch,
consistent and sensitive phrasing and obvious dynamics, with creative nuances to style
in response to music score.
XI SYNTHESIS
The music of Palawan reflects a veneration of the spiritual world and the natural
physical world through the epic chants, nature songs and instruments. The human experience
of contrasting emotions is also shown in love songs. Music is used not only as an expressive
emotive medium but also as a manifestation of creativity, culture and world view among
Tagbanuas, Palaw’an and the Batak people of Palawan.
8. MUSIC TEACHING GUIDES 1 AND 2: Music of Palawan
I TARGET GRADE LEVEL: Grade 7
II MODULES 1: Music of Palawan
III TIME ALLOTMENT: 2 Hours
IV OVERVIEW OF THE MODULE
V PERFORMANCE STANDARD
Analyzes musical elements and processes of Philippine music.
Correlates Philippine music to Philippine culture.
Performs examples of Philippine music, alone and with others, in appropriate tone, pitch,
rhythm, expression and style.
VI COMPETENCIES/OBJECTIVES
Analyzes an example of Philippine folk music from Palawan and describe how the
musical elements are used.
Explains the distinguishing characteristics of representative Philippine folk music from
Palawan in relation to history and culture of the area.
Analyzes the relationship of functions of Philippine music from Palawan to the lives of
the people.
Sings accurately representative folk songs from Palawan alone and / or with others.
Performs on available instruments music from Palawan alone and / or with others.
Improvises simple rhythmic / harmonic accompaniments to selected Philippine folk
music from Palawan.
Explores ways of producing sounds on a variety of sources that would emulate the
instruments being studied.
Evaluates music and music performances applying knowledge of musical elements and
style.
9. VI PRIOR SKILLS & ASSESSMENT – Have the students fill up the K-W-L chart on the music of
Mindoro.
VII CONTENT/TOPIC
Vocal Music: Bagit, Kulial (Songs), Tultul (Epic chant), Ulit (Shamanic chant)
Instrumental Music: aruding (Jew’s harp), babarak (ring flute), suling (banded flute),
basal (gong), kusyapiq (lute), pagang (bamboo zither)
Cultural Context (History and Traditions): Soundscape, Elemental Music, Epics
Composition: Bird songs, Kulial songs, Epics (i.e. Kudaman)
Social Functions: Ritual Music, Music for expressing contrasting emotions, Music for
work, Music for entertainment
Performance Styles / Techniques: Onomatopeia, Bagit Bird Scale (no half steps) and
Kulial Scale (with half steps), Magibut (playing together), Karang (Sung-Spoken dialogue),
Lumbaga (Shamanic chant about the voyage of the soul)
a. CONCEPT MAP
•Nature •Kulial
•Interaction among •Epics
groups •Instruments
•Language
Socio-
Musical
historical
Forms
Context
The Music of Palawan
Musical
Issues
Context
•Cultural •Music in Ritual
Preservation
•Soundscape
•Sustainable Eco-
Tourism •Creativity
10. b. ACTIVITIES & STEPS/ PROCEDURE
1. Have the students look at the picture of the Underground River and imagine the sounds
surrounding the place.
2. Group Activity: In groups of five per group, imagine the sounds heard in the Underground River
and recreate the soundscape using vocal improvisation. Go around and select three groups who
will perform their improvisations in class.
3. Ask the students to do a K-W-L chart of the music of Palawan.
4. Listen to musical examples from the resources segment. As the students listen, have them look
at the pictures on the student guide or project a slideshow from
http://www.scribd.com/doc/26842427/Palawan-Music or
http://wpu.edu.ph/tautbato/arts/gallery-template.html
5. Group the students into five per group. Have them read the articles on Palawan music on the
readings segment. As a group, complete the concept map using information and insights
understood from the readings.
6. Listen to an example of a kulial song from the recording resources segment. Read the guide
questions for listening and listen to the kulial song once more.
7. Discuss the students’ answers to the guide questions. The music may be played once more after
all the questions have been answered.
8. Pair the students and ask them to compose their own kulial using the C major scale. They may
use lyre or recorder/bamboo flute as melody instruments. Explain the rubrics for composition
and performance and move around to guide the students as they compose. Notation can be
traditional symbolic (notes) for advanced students or non-traditional using letters on top of the
lyrics for beginning students.
9. Have the students perform their own eight-line kulial vocally and instrumentally using the lyre
or bamboo flute/recorder.
10. Extension activity: Using the Palaw’an and Tagbanua alphabet, have the students decode their
kulial on the table given in the student guide.
VIII SUMMATIVE ASSESSMENT –
Rubrics for Simple Notated Musical Work
Basic: Incomplete composition, difficult to read with only half of the musical elements
Developing: Basic and legible with half of the required musical elements
11. Approaching Proficiency: Somewhat creative and legible, most musical elements
complete
Proficient: Creative, easy to read, complete musical elements
Rubrics for Performance of Creative Work
Basic –Unfocused tone, erratic rhythm, unstable pitch, inconsistent phrasing, dynamics
and shows insensitivity to style and context
Developing: Focused tone but inconsistent in extreme range, some repeated errors in
rhythm and pitch, consistent phrasing, discernible dynamics, some nuances in style as
suggested by the score/teacher.
Approaching Proficiency: Focused and clear tone in normal range, accurate rhythm and
secure pitch with isolated errors, accurate and consistent phrasing, accurate dynamics,
with some nuances in style as suggested by the score/teacher.
Proficient: Focused, clear tone all throughout, accurate rhythm and secure pitch,
consistent and sensitive phrasing and obvious dynamics, with creative nuances to style
in response to music score.
IX RESOURCES: READING & LISTENING MATERIALS – REFERENCES/LINKS IN WEBSITE
Readings and Resources:
Palawan Provincial Government. This is Palawan: The New Frontier.
De Leon, Felipe Jr. “Gawad Manlilikha ng Bayan MASINO INTARAY and the Basal and Kulilal Ensemble”
http://web.archive.org/web/20060716025744/http://www.ncca.gov.ph/about_cultarts/cultprof
ile/gamaba/intaray.php
The Arts of Tau’t Bato http://wpu.edu.ph/tautbato/arts/gallery-template.html (article and video)
Revel, Nicole M. (2007). Palawan Soundscape. SOCIAL SCIENCE DILIMAN (January-December 2007) 4:1-
2, 78-90
http://journals.upd.edu.ph/index.php/socialsciencediliman/article/viewDownloadInterstitial/12
38/1273
Revel, Nicole M. (1996). Kudaman: An Oral Epic in the Palawan Highlands. Oral Tradition, 11/1
(1996): 108-132.
http://www.scribd.com/doc/26842427/Palawan-Music (Powerpoint Presentation)
(The Vanishing Batak Tribe)http://www.omniglot.com/language/articles/vanishingbataks.php
Recordings / Videos:
http://www.youtube.com/watch?v=M7a-Hh6VPuc&feature=related (kulial / symbolic lovesong)
http://www.youtube.com/watch?v=zytxR8X8E9Q&feature=related (basal / gong and drum
ensemble)
http://www.youtube.com/watch?v=QGhnUjYvcMU&feature=related (babarak / ring flute)
http://www.youtube.com/watch?v=k1QTjPLRb6k&feature=related (aruding / Jew’s harp)
http://www.youtube.com/watch?v=2dR1e7BGFUo (Kudaman epic excerpt)
http://www.youtube.com/watch?v=Zaf18Y9jVuI&feature=related (dance theatre)
12. X GLOSSARY OF MUSIC TERMS & SYMBOLS
Voice Instruments
Mindoro:
Mindoro: Subing / Jew's harp
Igway / Song Gitgit / lute
Marayaw / Spirit song Agung / gong
Bangsi / flute
Palawan:
Palawan: Aruding / Jew's harp
Kulial / Song Kusyapiq / lute
Ulit / Spirit song Basal / gong
Suling, Babarak / flute
Comparative Glossary of Mindoro and Palawan Music. Copyright by the author.