1. MUSIC LEARNING MODULES 9-10: Selected Vocal Music of Mindanao
I TARGET GRADE LEVEL: Grade 7
II MODULES 1: Music of Mindanao
III TIME ALLOTMENT: 2 Hours
IV OVERVIEW OF THE MODULE
The module is about selected vocal music from Mindanao. The analysis of the music is
done using musical mapping as well as socio-cultural influences on the music. An application of
the lesson involves singing familiar folk songs from Mindanao with appropriate expression, tone
and style that is reflective of the function of the music.
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 Mindanao and describe how the
musical elements are used.
Explains the distinguishing characteristics of representative Philippine folk music from
Mindanao in relation to history and culture of the area.
Analyzes the relationship of functions of Philippine music from Mindanao to the lives of
the people.
Sings accurately representative folk songs from Mindanao alone and / or with others.
Improvises simple rhythmic / harmonic accompaniments to selected Philippine folk
music from Mindanao.
Evaluates music and music performances applying knowledge of musical elements and
style.
VII CONTENT/TOPIC :
Vocal Music of Mindanao
 Vocal Music: Epic: Darangen (Maranao); Lullabye: angan bata-bata (Tausug); Love and
Courtship: Batac inanen, estijaro (Tagacaolo), bandayuy ( Matigsalog), antang
(Manobo, for match-making) and sindaay, tarasul (Tausug); Entertainment songs:
dangdang-ay, bayok (Mandaya), and the limbay (Manobo)

2.  Cultural Context (History and Traditions): Functional Songs, Epics, Ritual Songs
 Social Functions: Ritual Music, Lullabies, Music for work, Music for entertainment
 Performance Styles / Techniques: Melismatic, Syllabic Singing
VIII RESOURCES
Readings and Resources:
Dioquino, Corazon C. Indigenous Music of the Philippines.
http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-a/article.php?igm=1&i=158
Interactive Map of the Philippines and Major Ethnic Groups:
http://www.kipas.nl/Groups.htm
Maceda, Jose. The Music of the Maguindanao of the Philippines.
http://media.smithsonianfolkways.org/liner_notes/folkways/FW04536.pdf
Santos, Ramon P. Traditional Forms of Music.
http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-a/article.php?igm=1&i=161
Recordings / Videos:
Darangen epic UNESCO:
http://www.unesco.org/culture/ich/index.php?lg=en&pg=00011&RL=00159#video
Calasiao singing pokpok alimpako :
http://www.youtube.com/watch?v=ePSdnktzO-g
Zamboanga chavacano songs “No Te Vayas” and “Zamboanga Hermosa”:
http://www.zamboanga.net/Song&MusicofZamboanga.htm
Hans Brandeis Videos on the Music of Mindanao:
http://user.cs.tu-berlin.de/~brandeis/Videos_MindanaoLumad.html
IX ACTIVITIES
EXPLORING MINDANAO: Using the interactive map from http://www.kipas.nl/Groups.htm#,
can you find the some major ethnic groups? List down at least three ethnic groups.
The culture of Mindanao is as colorful as the geography and the peoples who live in Mindanao.
Before learning the music, let us find out what you already know.

3. K-W-L Chart: Write what you currently know about the music of Mindanao under column 1 and
what you want to know about the music of Mindanao under column 2.
Music of Mindanao
What I want to
What I Know What I've learned
Know
GUIDED LISTENING:
Listen to examples of vocal music from Mindanao from the resources segment. Reflect on:
a. What is the function of the music? What do you think is the message of the music?
b. How were the varied musical elements (timbre, dynamics, rhythm, pitch, form) used in
bringing about the message of the music?
MUSICAL MAPPING: This time, let us watch/listen once more to the musical examples and try
to map out using lines/graphic notation what you hear. You may focus on a particular musical
element as you listen (vocal tone, melodic line, rhythm of the song, thick or thin texture of the
music). Write your map on the boxes below. You may add additional boxes per song.
Darangen
Pok-Pok Alimpako
No Te Vayas
Read the paragraph about the vocal music of Mindanao by Maceda, Dioquino, Santos, Brandeis.
Using the reading as well as the videos you have watched, complete what you have understood
about the vocal music of Mindanao by filling up the concept map.

4. Socio-
Musical
historical
Forms
Context
Vocal Music of Mindanao
Performance Musical
Techniques Context
APPLICATION: In groups of 10 per group, study some of the songs from Mindanao using the
video resources (UNESCO, Brandeis, etc). Pay particular attention to the function of the song
and how the song is performed in the socio-cultural setting. Be ready to perform the song in
class next meeting.
X ASSESSMENT
Rubrics for Performance
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 vocal music of Mindanao is a reflection of the natural and spiritual life of the various
people in the area: Lumad, Christian, Muslim Filipinos. Its many forms show the creative
expressions that Filipinos use in order to express the emotions, events and word view.

5. MUSIC LEARNING MODULES 1-2: Selected Vocal Music of Mindanao
I TARGET GRADE LEVEL: Grade 7
II MODULES 1: Music of Mindanao
III TIME ALLOTMENT: 2 Hours
IV OVERVIEW OF THE MODULE
The module is about some selected vocal music from Mindanao. The analysis of the
music is done using musical mapping as well as socio-cultural influences on the music. An
application of the lesson involves singing familiar folk songs from Mindanao with appropriate
expression, tone and style that is reflective of the function of the music.
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 Mindanao and describe how the
musical elements are used.
Explains the distinguishing characteristics of representative Philippine folk music from
Mindanao in relation to history and culture of the area.
Analyzes the relationship of functions of Philippine music from Mindanao to the lives of
the people.
Sings accurately representative folk songs from Mindanao alone and / or with others.
Improvises simple rhythmic / harmonic accompaniments to selected Philippine folk
music from Mindanao.
Evaluates music and music performances applying knowledge of musical elements and
style.
VII CONTENT/TOPIC :
Vocal Music of Mindanao
 Vocal Music: Epic: Darangen (Maranao); Lullabye: angan bata-bata (Tausug); Love and
Courtship: Batac inanen, estijaro (Tagacaolo), bandayuy ( Matigsalog), antang
(Manobo, for match-making) and sindaay, tarasul (Tausug); Entertainment songs:
dangdang-ay, bayok (Mandaya), and limbay (Manobo)

6.  Cultural Context (History and Traditions): Functional Songs, Epics, Ritual Songs
 Social Functions: Ritual Music, Lullabies, Music for work, Music for entertainment
 Performance Styles / Techniques: Melismatic, Syllabic Singing
a. CONCEPT MAP
•Nature •Epics
•Interaction among • Love and Courtship
groups •Entertainment songs
•Spirituality •Work and Lullabies
Socio- •Ritual Songs
historical Musical
Context Forms
Vocal Music of Mindanao
Performance Musical
Techniques Context
•Melismatic •Music in
•Syllabic Ritual
•Improvisation
•Creativity
b. ACTIVITIES & STEPS/ PROCEDURE
1. Have the students explore the ethnic groups in Mindanao using the interactive map from kipas.
List down at least three groups.
2. Ask the students to do a K-W-L chart of the music of Mindanao.
3. Watch/Listen to vocal examples from the resources segment. Discuss their answers to the guide
questions.
4. Watch videos of the said vocal examples but this time, have the students map out what they
hear using the musical map per song.
5. Group the students into ten per group. Have them read the articles on the vocal music of
Mindanao by Maceda, Dioquino, Santos or Brandeis. As a group, complete the concept map
using information and insights understood from the readings. Discuss the students’ answers to
the guide questions. The music may be played once more after all the questions have been
answered.

7. 6. Group Singing: With their existing groups, have the students select one song from the resource
videos (UNESCO, Brandeis, etc.) and to study the song in terms of its musical and socio-cultural
characteristics. Give time for practice.
7. Remind the students of the rubrics for performance. Have the students perform their
interpretation of any vocal excerpt from Mindanao.
VIII SUMMATIVE ASSESSMENT –
Rubrics for Performance
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:
Dioquino, Corazon C. Indigenous Music of the Philippines.
http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-a/article.php?igm=1&i=158
Interactive Map of the Philippines and Major Ethnic Groups:
http://www.kipas.nl/Groups.htm
Maceda, Jose. The Music of the Maguindanao of the Philippines.
http://media.smithsonianfolkways.org/liner_notes/folkways/FW04536.pdf
Santos, Ramon P. Traditional Forms of Music.
http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-a/article.php?igm=1&i=161
Recordings / Videos:
Darangen epic UNESCO:
http://www.unesco.org/culture/ich/index.php?lg=en&pg=00011&RL=00159#video

8. Calasiao singing pokpok alimpako :
http://www.youtube.com/watch?v=ePSdnktzO-g
Zamboanga chavacano songs “No Te Vayas” and “Zamboanga Hermosa”:
http://www.zamboanga.net/Song&MusicofZamboanga.htm
Hans Brandeis Videos on the Music of Mindanao:
http://user.cs.tu-berlin.de/~brandeis/Videos_MindanaoLumad.html
X GLOSSARY OF MUSIC TERMS & SYMBOLS
Epic: Darangen (Maranao)
Lullabye: angan bata-bata (Tausug)
Love and Courtship: Batac inanen, estijaro (Tagacaolo), bandayuy ( Matigsalog), antang
(Manobo, for match-making) and sindaay, tarasul (Tausug)
Entertainment songs: dangdang-ay, bayok (Mandaya), and limbay (Manobo)