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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.
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)
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?
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:
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
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
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.
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.
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
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
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)
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.

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Attachments 2012 05_29

  • 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.