Music For Special Program in The Arts (Spa) Curriculum Guide

MUSIC
FOR SPECIAL PROGRAM IN THE ARTS (SPA)
CURRICULUM GUIDE
Draft prepared by: Jocelyn T. Guadalupe,

Christine M. Muyco,
Jose S. Soliman, Jr.,
Leticia G. Del Valle,
Arvin Manuel R. Villalon
As of June 25, 2014

College of Music, UP Diliman
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SPA MUSIC CURRICULUM
CONCEPTUAL FRAMEWORK
Music occupies a very important role in Philippine society. Its function is well entrenched in the various occasions and festivals and in the day
to day activities of households. Music is used as a means to express and convey messages to members of the community. In the Philippine context,
there is no direct translation for the word music but there is a multitude of words relating to music which describe song forms, musical instruments,
and processes. This just means that music is more than just an abstraction as it is found in the everyday experiences of the people.
The SPA music curriculum focuses on four threads which at the end of the program will equip the learner as an engaged artist in the field of
music: 1. music as borne of the expression of the self as seen in the Filipino tales, epics, rituals, and festivals; 2. music as a community resource
rooted in the natural, tangible, and intangible heritage of the people; 3. music as an continuing expression of the people’s history and; 4. music as a
contextualized reality from the local to global perspectives in the contemporary times.
Along with four threads, the curriculum will develop the learner‘s knowledge, appreciation, and skills in music using the seven building blocks
of music distributed across the curriculum (Philosophy of Music; Overview of Music; Music Elements and Concepts; Music Processes and Skills;
Musical Instruments; Music Genre and Styles; People of Music). The SPA program is a spiraling program, grounded on performance-based learning.
At the end of the program the learners will have gained the basic and intermediate skills in music which will prepare them for a career and/or higher
education in music and other art disciplines.
The philosophical foundations upon which standards and competencies are based on are aligned with the regular K-12 program for music
and the arts. These include among others, the following sources: A Process of Education by Jerome Bruner, Performance-Based Learning by
Cleve Miller, Aesthetic Education by Bennett Reimer, Praxial Music Education by David Elliott, Multiple Intelligences by Howard Gardner, A
Structure for Music Education by Ronald Thomas, Gongs and Bamboo by Jose Maceda, Compendium on the Humanities: Musical Arts produced
by the National Research Council of the Philippines, Dictionary of Filipino Musical Terms produced by the UP Center for Ethnomusicology, Content
Standards from the National Standards for Arts Education by Music Educators National Conference (MENC), Integrating Music Throughout the
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Curriculum by Claudia Cornett, Cultural Dictionary for Filipinos by Thelma Kintanar and Associates, Creative and Mental Growth by Viktor
Lowenfeld and W. Lambert Brittain, Discipline-Based Art Education by Elliot Eisner, Encyclopedia of Philippine Arts and Tuklas Sining, both
produced by the Cultural Center of the Philippines, and Malikhaing Guro by ARTISTS, Inc.

PHILOSOPHY AND RATIONALE FOR MUSIC EDUCATION
Source: K-10 Philosophy and Rationale for Music Education
Music is both an aural and a temporal art. All its elements, when interwoven in the highest artistic order, are likened into a tapestry moving
in time. The global weavings of this tapestry in historical and cultural contexts are diverse—having spurred a continued metamorphosis to
include a full range of purposes, functions, and identities, from the utilitarian to aesthetic.
However, the basic nature of music does not change. In his book A Structure for Music Education, Ronald Thomas articulates that the
nature of music is expressive, ongoing, and creative. Through a language and medium of its own, music conveys ideas and feelings in a way that
addresses the human spirit, and has great value in its communicative process. Music, being responsive in interpreting contemporary times, is a
continuing art. Aaron Copland describes this characteristic
as a continuous state of becoming. Like the other arts, music is a creative avenue for man’s individual quest for self-expression and
fulfillment.
On these basic characteristics are founded the rationale of music study. A keen sensitivity to environmental and musical sounds
needs to be developed. The student must learn to hear, speak, and think in the medium of music. Simultaneously, growth and development in
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the skills that enable the application of the learner’s knowledge should be encouraged, through active involvement in the various musical
processes.
Drawing from the development of music pedagogy through the years, the K-10 Music Curriculum embodies the best practices
advocated by the SPIRAL, MULTI-CULTURAL, and INTEGRATIVE approaches in music education, as well as current philosophical thoughts
about contemporary general education. We envision that Music in the K-10 Program will effectively nurture and refine the learner’s artistic
expression and cultural literacy, and celebrate his/her national heritage, while it instills, within every individual Filipino learner, pride in his/her own
cultural identity.
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PROMOTES A FILIPINO PERSPECTIVE IN
THE *UNDERSTANDING AND
MUSIC
*READING AND WRITING ELEMENTS *LISTENING TO,
MUSIC AND ANALYZING, AND
CONCEPTS DESCRIBING MUSIC
Culture
& History
*UNDERSTANDS MUSIC Local & Global
Community MENTAL- Spirit *CREATING AND
AND ITS RELATIONSHIP
EMOTIONAL ARRANGING MUSIC
TO OTHER ARTS USING NATURAL AND
DISCIPLINES ELECTRONIC MATERIALS
WITHIN SPECIFIC
MUSIC
MUSICGUIDELINES
CONTEXT RELATIONA Self VALUES PROCESSES
L
AND
SKILLS
*UNDERSTANDS MUSIC
*EVALUATING MUSIC
IN RELATION TO
AND MUSIC
HISTORY AND CULTURE
PERFORMANCES
SENSORY-
AESTHETI
Lifecycle C Land
*SINGING AND/OR
*IMPROVISING PLAYING INSTRUMENTS,
MUSIC ON SOLO or GROUP
MELODIES, VARIATIONS 5
AND ACCOMPANIMENTS EXPRESSION PERFORMANCE on
AND VARIED REPERTOIRE OF
PERFORMANCE MUSIC
GRADE 12 ADVANCED - MUSIC

SPECIALIZATION II
COMPETENCE
GRADE 11 COMPETENCE - MUSIC

SPECIALIZATION I
GRADE 10 PROFICIENCY - MUSIC IN ASIAN,

WESTERN, GLOBAL
and CONTEMPORARY
PERSPECTIVES
GRADE 9 MUSIC SKILLS DEV’T II: -PHILIPPINE

MUSIC: INDIGENOUS, EXPLORATION
TRADITIONAL, WESTERN
MUSICAL COMPARATIVE HISTORICAL
HISTORICAL
GRADE 8 MUSIC SKILLS DEV’T I: -
COMMUNITY: LIFE SOURCES
AWARENESS & EXPLORATION &
CULTURAL HERITAGE
GRADE 7 ELEMENTS OF MUSIC -BASIC

ELEMENTS AND
MUSIC APPRECIATION &
PRINCIPLE OF ALL THE ARTS
BASIC MUSIC SKILLS -SELF

& THE GROUP
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FIGURE 2. THE CONTENT OF SPA MUSIC CURRICULUM PER GRADE LEVEL
*BUILDING BLOCK I: BUILDING BLOCK III: BUILDING BLOCK V:
PHILOSOPHY: WHY STUDY MUSIC
MUSIC ELEMENTS AND CONCEPTS
MUSICAL INSTRUMENTS
 Music as an Expression of Life  Timbre  Voice and the Body
 Music as a Communication  Dynamics  Sound makers
MUSIC SPECIALIZATION:
Tool  Rhythm  Idiophones
 Music as an Expression of  Melody  Membranophones
Personal and Cultural Identity  Pitch  Aerophones
 Music as an Expression of  Harmony  Chordophones 1. VOICE
History  Tempo  Rondalla, Orchestra and
 Music as a Repository of  Form band
BUILDING BLOCK IV: 2. INSTRUMENT
Values  Indigenous instruments and
 Music as a Means for MUSIC PROCESSES OR SKILLS ensemble
Promoting Personal and Social  Electronic Musical 3. CREATIVE MUSIC
Growth Instruments WRITING AND
 Listening ARRANGING
 Reading
BUILDING BLOCK II: BUILDING BLOCK VI:
 Imitating
 Responding 4. PERFORMANCE
OVERVIEW OF MUSIC MUSIC LITERATURE
 Creating
 Improvising
 What is Music  Music of the Philippines
 Performing
 Music in Relation to the Other  Music of Asia
 Evaluating
Arts  Music of the West
 Purpose and Role of Music in  Analyzing critically
 Applying  Music of Africa, Latin
Society
 Researching America, South Pacific
 Defining Music in the
 Contemporary Musical
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Philippine Context  Using music technology Forms and Styles
 Instrument-
making/repairing
 Writing Music BUILDING BLOCK VII:
PEOPLE OF MUSIC
 Famous musicians in history
 National Artists and Gawad
Manlilikha ng Bayan
 Roles in Music Making
 Careers in Music
*Adapted From National Standards for Arts Education, 1994
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TABLE 1. BASIC REFERENCE FOR MUSIC
LEARNING AREA STANDARD:
The learner demonstrates an appreciation and understanding of the concepts and principles of Music, Aesthetics, and History within the context of
Philippine cultural and historical realities. The course ends with musical performances imbued with artistic creativity, sense of community, and pride of
place. Each performance incorporates sensitive interaction with Filipino indigenous heritage, values of human and social development, and
mobilizing skills for a career in the arts.
KEY STAGE STANDARD
GRADES 7-10 GRADES 11-12
The learner demonstrates an appreciation and understanding of the The learner demonstrates Competency in the Mastery and Application of
concepts and principles of Music, Aesthetics, and History within the the concepts and principles of Music, Aesthetics, and History directly
context of Philippine cultural and historical realities. The course ends with applicable for towards a career and profession in various fields of Music.
musical performances imbued with artistic creativity, sense of community,
and pride of place. Each performance incorporates sensitive interaction
with Filipino indigenous heritage, values of human and social
development, and mobilizing skills for a career in the arts.
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GRADE LEVEL STANDARDS
GRADE GRADE LEVEL STANDARDS

LEVEL
Grade 7 The learner demonstrates an appreciation and understanding of the basic language of the creative arts, focusing on MUSIC as
an INTEGRATED LANGUAGE of personal, group, and cultural expression and creativity in stories, ritual, myth, and
cultural enactments for the RELEASE of creativity, and AWARENESS of self and cultural identity, and sense of social
responsibility.
Grade 8 The learner demonstrates an understanding of the basic concepts, principles, and skills of MUSIC relevant to creating
seminal works on Community Realities and Life Sources for the AWARENESS and EXPLORATION of creativity, sense of self
and cultural identity, and social responsibility
Grade 9 The learner demonstrates 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
Grade 10 The learner demonstrates an understanding of the basic concepts and principles of MUSIC interacting with other disciplines
relevant to the creation of major works reflecting Con temporary Realities for the PROFICIENCY in artistic creativity, leading
to a sense of self, cultural identity, and social responsibility
Grade 11 The learner demonstrates COMPETENCE in the application of the concepts and principles of Music, Aesthetics, and History in
their own MUSIC SPECIALIZATION towards a productive career and profession in various fields of Music.
Grade 12 The learner demonstrates an ADVANCEMENT in COMPETENCE in the application of the concepts and principles of Music,
Aesthetics, and History in their own MUSIC SPECIALIZATION towards a productive career and profession in various fields of
Music.
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CURRICULUM CONTENT AND MATERIALS FOR SPA MUSIC
Expected Graduates of SPA Music:
 Track A: Tertiary Education
 Track B: Practitioner of Music (performer, church music trainer, arranger, music technician)
Course Scope, Content and Materials:
GRADE Level: Quarter or Grading Period
MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY
3-4 INTRO TO MUSIC INSTRUMENTAL ENSEMBLE INTRO TO MUSIC VOCAL ENSEMBLE INTRO TO MUSIC
PM
4-5 SOLO INSTR SOLO INSTR SOLO INSTR

PM
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GRADE 7
COURSE DESCRIPTION:
This is a course in SPA music specialization that aims the learner to demonstrates an appreciation and understanding of the basic language
of the creative arts, focusing on MUSIC as an INTEGRATED LANGUAGE of personal, group, and cultural expression and creativity in
stories, ritual, myth, and cultural enactments for the RELEASE of creativity, and AWARENESS of self and cultural identity, and sense of social
responsibility.
MUSIC GRADE 7 : FIRST QUARTER FIRST GRADING PERIOD
1st Quarter: Artistic Expressions, Integrated Arts , Soundscapes and Warm-Ups for Voice and Instruments
CONTENT CONTENT PERFORMANCE LEARNING CODES

STANDARDS STANDARDS COMPETENCIES
The learner… The learner… The learner…

A. THE LANGUAGE OF
ARTISTIC EXPRESSION
 demonstrates  illustrate 1. defines the different SPA_MAE7-
Elements of Artistic Expression understanding examples of the elements of artistic Ia-1
in all the arts: of the different integrated art expression
artistic processes in the
1.Space expressions; different art forms
2.Line its elements,
3. Movement processes, 2. describes how the SPA_MAE7-
4.Texture principles, and different elements are used Ia-2
5. Sound
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6. Silence interrelations.
7. Rhythm
8.Form
SPA_MPAO
B. Principles of Artistic  Develops the 3. explains the principles of 7-Ia-3
Organization common in the fundamental artistic artistic organization in the
arts process such as different art forms.
music with artistic SPA_MCAF7
1.Unity and Variety awareness and 4. explains the -Ia-4
2.Form creativity in characteristics of the
3. Function and Intent expressing oneself. different art forms
SPA_MAF7-
Ia-5
C. Characteristics of the 5. distinguishes clearly
different Art Forms and its the commonalities and
Artistic Expressions: differences among the
1. Music different art forms
2.Dance
3.Drama 6. analyzes elements
4. Literature and processes of artistic
5.Visual Arts expression in the different SPA_MAE7-
6.Film art forms. Ia-6
7. demonstrates the
SPA_MS7-
elements of artistic
Ib-7
D. Soundscapes expressions using
(Music from the Natural soundscapes in music
Environment) using the available
resources in your
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community
8.practice regular warm- SPA_MVC7-

up for vocal and Ij-8
instrumental ensemble.
E. Warm-Ups and Caring for

the Voice and Instruments
MUSIC GRADE 7 : SECOND QUARTER SECOND GRADING PERIOD
2nd Quarter: Legends and Myths, Sounds as narrative, Introduction to Music I-A
CONTENT CONTENT PERFORMANCE LEARNING

A. THE LANGUAGE OF
CREATIVE EXPRESSION The learner... The learner... The learner...
IN LEGENDS AND MYTHS:
1. Sound as Narratives in  demonstrates  performs 1. describes the narratives SPA_MLCE7
Local Legends and understanding chants or songs citing their place of origin -IIa-1
Myths of local from stories,
stories, legends and myths
legends and in their local
myths as context with clarity.
reflections of
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Filipino
2. Interpretations/ values,
Meaning-Making (Local ingenuity
Views)
3. Depictions through 2-3 2. interprets stories, SPA_MLCE7

Integrated Art Forms guided by basic Filipino -IIa-2
(e.g. cultural perspectives
Chants/Instruments,
Movement, Poetry, etc.)
3.relates how these SPA_MLCE7
narratives reflect aspects -IIa-3
through Filipino
perspective
SPA_MLCE7
4.establishes a set of -IIa-4
values and insights
B. INTRODUCTION TO relevant to their life and
MUSIC community.
1.Why Study Music
2.Overview of Elements of 5.analyzes narratives in SPA_MLCE7
Music : terms of literary and -IIb-5
 Rhythm musical elements
 Melody
 Harmony
 Tempo
 demonstrates 6.identify the importance of SPA_MIM7-
 Dynamics IIa-6
understanding studying music.
 Timbre of the
 Form importance of 7.sings chants from SPA_MLCE7
studying stories, myths and legends -IIb-7
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3. Instrumental music and its
elements. 8.applies the use of music SPA_MLCE7
 Identification of in the integrated arts in -IIb-8
Instruments depicting the narratives
 Parts of the Instrument creatively
 Proper techniques of
playing the instrument
4. Vocal
9. identifies the different SPA_MIM7-
 Main features and  demonstrates  executes the instruments used and their IIa-9
proper care of the recognition of proper parts .
voice the technique of
 Classifications of instruments playing the 10. applies the proper SPA_MIM7-
voice: SATB used; its instrument. techniques in playing the IIa-10
parts,and instrument.
proper
technique of
playing.
SPA_MIM7-
 demonstrates  executes the 11. explains the main IIa-11
proper warm- proper way of features and proper care of
up and vocal vocal care. the voice
care.
12. distinguishes the SPA_MIM7-
classifications of voice IIa-12
(SATB)
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MUSIC GRADE 7 : THIRD QUARTER
3rd Quarter: Rituals and Festivals, Introduction to Music I-B
CONTENT PERFORMANCE LEARNING

CONTENT STANDARDS STANDARDS COMPETENCIES
A. THE LANGUAGE OF
CREATIVE EXPRESSION IN The learner… The learner… The learner..
RITUALS AND FESTIVALS .
1.Local/ Regional Rituals

and Festivals  demonstrates  Performs 1. describes rituals and SPA_MCER
2.Analysis of Artistic understanding rituals and festivals festivals citing their F7-IIIa-1
Expressions in Rituals and of local rituals according to history, place of origin,
Festivals and festivals local/regional and context
reflective of traditions.
Filipino
3.Contextual Interpretations values,
(Local) ingenuity
 demonstrates 2. analyzes significant SPA_MCER

understanding use of the arts and F7-IIIa-2
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of music creative expressions in
concepts and rituals and festivals
processes as
applied to the
music of
rituals and
festivals
4. Depictions through 2-3
Integrated Art Forms
(Visual Arts, Movement, Music,
Literary Arts, Drama) 3.re-enact rituals and SPA_MCER
 demonstrates festivals using the F7-IIIc-3
understanding integrated process
to the use of involving elements from
different art dance, drama, music,
forms and writing, visual arts, and
media to media arts.
portray rituals
and festivals
4.demonstrates the various SPA_MCER
artistic expressions present F7-IIIb-4
in the rituals and festivals
and establishes their
B. INTRODUCTION TO MUSIC functions
1.Elements of
Music
 Rhythm (Beat,
Meter, Note  executes skills 5. identify the basic SPA_MIM7-
Values) required in elements of music in a IIIa-5
solo and given music example
 Melody (Modes,
group
Tonality, Scales) 6..sing/play instruments SPA_MIM7-
performance
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 Harmony alone or with others IIIj-6
(Intervals &
Triads)
 Tempo (Adagio,
Moderato, Allegro,
Presto, Vivace)
 Dynamics( piano,
forte, mezzo
piano, mezzo
forte)
 Timbre (vocal,
instrumental,
environmental)
 Form (Cyclic,
Phrases, Period,
Section, Binary,
Ternary, Rounded
Binary, Rondo,
Song Forms)
*the teachers are free to
choose what elements of music
he/she think is necessary to
apply.
2.Importance of Music
 as an expression of life
 as a tool for
communication
 as an expression of
personal and cultural
identity
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 as an expression of
history
 as a repository of
values
 as a means for
promoting personal and
social growth
3. Application of the
Elements of Music through
the chosen specialization:
voice and instrument-
playing.
Instrument-Playing/Singing
 Finger
positions/Posture
 Embouchure (winds);
bowing/plucking
(strings);
 Articulation
 Tone Production and
Resonance
MUSIC GRADE 7 : FOURTH QUARTER
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4th Quarter: Performance, Introduction to Music (I-C) , Collaboration of the Different Art Fields
CONTENT CONTENT PERFORMANCE LEARNING

A. INTRODUCTION TO The learner... The learner... The learner...

MUSIC
 demonstrates 1.describes the elements
1.Continuation of Review of an understanding of  performs the of music SPA_MIM7-
Elements of Music : the importance of epics, folktales, IVj-1
 Rhythm (Beat, Meter, Note music, elements of rituals, and
Values), music, music literacy, festivals with
 Melody (Direction and Contour, folk music and its music. 2.analyzes musical SPA_MIM7-
functions, aspects of elements in epics, rituals, IVj-2
 Modes, Tonality, whole and half
music ensemble festivals meaningfully
steps,
practice and
 Tetrachords, Scales and
integrated musical
Intervals), performance
 Harmony (Texture, Intervals &
Triads),
 Tempo (Adagio, Moderato,
Allegro, Presto, Vivace),  performs basic 3.analyzes meaningfully SPA_MIM7-
 Dynamics( piano, forte, mezzo music reading skills the dynamics of self and IVj-3
piano, mezzo forte), through sight group through music and
 Timbre (vocal-chest & head, reading and singing the integrated arts
of their local music approach
instrumental, environmental),
 Form (Cyclic, Phrases, Period, (e.g.Harana-
Bulacan)
Section, Binary, Ternary,
Rounded Binary, Rondo, Song
Forms)
 Basic Music Reading: Notes,
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Rests, Time Signature, Clefs
*NOTE
Teachers are free to choose
what elements of music he/she
thinks is necessary to apply in
the course.
 Application of the Elements of

Music through the chosen
specialization: voice and
instrument-playing.
 Instrument-Playing/Singing
 Finger positions/Posture  Applies the
 Tone Production & elements of music
through singing and
Resonance
playing
 Embouchure (winds);
bowing/plucking (strings);
 Articulation
 Solo and ensemble playing of
Pieces/works related to rituals
and festivals
 Integrated Arts Approach to
staging a music performance
based on Filipino legends,  applies aspects
myths, rituals, and festivals of the integrated
arts approach in
the staging music
performances
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*the
performance
standards for
the fourth
quarter will be
showcased in
collaboration
with all the
other art
fields.
Course Scope, Content and Materials:
GRADE 7: Integrated Language
3-4 INTRO TO MUSIC INSTRUMENTAL ENSEMBLE INTRO TO MUSIC I VOCAL ENSEMBLE INTRO TO MUSIC I
PM I

PM
Coverage of INTRO TO MUSIC:

1st Q: Artistic Expressions, integration, and Soundscapes; warm-up to instrument/voice;
2nd Q: Legends and Myths, sounds as narrative; Introduction to Music I-A
3rd Q: Rituals and Festivals; Theory, Listening, Introduction to Music I-B
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4th Q: *Performance, Theory, Listening, Introduction to Music I-C, Collaboration of the Different Art Fields
Solo Performance/Collaboration: instrument/voice/choir--- SOLO: WINDS, GUITAR, PIANO, STRINGS, percussion, VOICE; b) INSTRUMENTAL
ENSEMBLE: INDIGENOUS MUSIC ENSEMBLE (SLT PARTNERSHIP), Rondalla, Recorder, Chamber/Mixed; c) CHOIR: SSA/SATB OR DIVISI
MATERIALS:
Introduction to Music: Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory Musicianship by Theodore Lynn
Solo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Voice Methods of Concone, Marchesi,
MacClosky; Van Christy
Indigenous Music: Palabunibunyan by Aga Mayo Butocan, Gongs and Bamboo by Jose Maceda, Dictionary of Filipino Musical Terms (UPCE),
Philippine Traditional Music by Kristina Benitez, Select Transcriptions of Philippine Folk Songs by Lilia Tolentino (unpublished thesis)
Guitar: Carcassi, Sor, Hal Leonard Guitar Method Books 1 – 3, 2nd 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
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GRADE 8
Course Description:
This is a course in SPA- Music specialization that aims the learner to demonstrates an understanding of the basic concepts, principles, and
skills of MUSIC relevant to creating seminal works on Community Realities and Life Sources for the AWARENESS and EXPLORATION of
creativity, sense of self and cultural identity, and social responsibility
MUSIC GRADE 8 : FIRST QUARTER FIRST GRADING PERIOD
Community/Folk life and music, Introduction to Music II-A
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CONTENT CONTENT PERFORMAN LEARNING POSSIBLE
STANDARDS CE COMPETENCI ACTIVITIES
STANDARDS ES
A. INTRODUCTION TO THE
NATURAL AND CULTURAL The learner… The learner… The learner… The
HERITAGE OF A learner…
 demonstrates  Creates a 1.describes
COMMUNITY: the
an cultural map  draws and
1. Cultural Heritage dimensions SPA_MC
understanding depicting the explains
of cultural community of society the various H8-Ib-1
heritage heritage and applies dimension
(tangible and them on an s of society
intangible). analysis of and its
his reflections
2.The Different community
Dimensions of Society: in his /her
 demonstrates community
Ecology, Governance,
Cultural, Social, Human, an
Economic, and Spiritual understanding
of the different  conducts
dimensions or survey of the
modalities of music
society as resources of
applied in a the
community  assesses the community
3. Assessing the Music
and their music
Resources of a
various resources of
Community
relationships the
community
4.Basic Social Mapping
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2.illustrates SPA_MC
social maps H8-Ib-2
B. INTRODUCTION TO MUSIC with clarity,
1.Elements of Music : analysis,
and interest
 Rhythm (Simple &
Compound Meter,  demonstrates
Syncopated ) an
 Melody (Key understanding  Performs
of basic social sight-
Signatures, Scale  draws
mapping reading,
Degree names social
methods
Types and singing and maps
Qualities of playing
Intervals),  demonstrates
 Harmony (Chord an
Functions, Tonic,  evaluates
understanding
3. evaluates
Dominant, Chord of basic music music applying
Progressions), the basic music
reading, basic SPA_MI
musical applying the  reads and
 Tempo (Grave, vocal M8-Ij-3
elements and basic analyzes
Lento, techniques,
skills musical music
Prestissimo, instrument
elements
Ritardando, playing
and skills
Accelerando, techniques,
and sight  performs  rehearses
Rubato),
reading skills music through pieces
 Dynamics(crescen solo and with
do, decrescendo, accompaniment 4.explains SPA_MI
diminuendo), how specific  applies M8-Ia-d-
 Timbre elements of technique
music are 4
(Hornboestel-
27
Sachs applied in in singing
Classification, particular or playing
Voice –SATB, pieces instrument
Solo, Duet, s
Trio,Quartet ),
 Form (Canon,
Fugue, Sonata
Allegro, Concerto,
Symphony)
2. Importance of
Music
 as an
expression
of life;
 as a tool for
communicat
ion;
 as an
expression
of personal
and cultural
identity;
 as an
expression
of history;
 as a
repository of
values;
 as a means
for
28
promoting
personal
and social
growth
3. Application of the
Elements of Music
through the chosen
specialization: voice
and instrument-
playing.
 Instrument-
Playing/Singing
(Continuation from
Grade 7)
 Finger
positions/Posture
 Tone Production &
Resonance
 Embouchure (winds);
bowing/plucking
(strings);
 Articulation
 Sight Singing
 Basic Sight Reading
 Repertoire Study
*NOTE
Teachers are free to
choose what elements of
music he/she thinks is
29
necessary to apply in the
course.
MUSIC GRADE 8 : SECOND QUARTER
2nd Q: Ecology and natural resources, Introduction to Music II-B;

STANDARDS ES
A. OUR LIFE SOURCES The learner… The learner… The learner… The
1.Ecological Mapping: learner…
Creative Presentation of Local  demonstrates  Map an 1. identifies SPA_ML
Natural Resources (marine, an inventory of the different  resear S8-IIa-b-
terrestrial, aerial ecosystems understanding the natural natural ches on 1
of a community) of the natural resources of resources of ecosystems
30
resources of the the and their
his/her community , community significance
community and ecosystems and their
its different and give significance.
ecosystems their
significance.
 illustrates SPA_ML
the varied 2.creates
ecological  draws S8-IIa-b-
ecosystems
in his/her maps of the or creates 2
community natural visual
through an resources of collages or
ecological his/her community
map or community maps
visual illustrating
2.Earth Music Fusion collage various
eco-
systems
3.creates SPA_ML
soundscapes  explores S8-IIa-b-
of human and various 3
ecological soundsca
situations pes
based on
these maps
B. INTRODUCTION TO  demonstrates  create a

MUSIC (Continuation) understanding fusion of
1. Elements of of the earth music
relationship of through
31
Music : music elements improvisatio
 Rhythm to the earth n
(Simple &
Compound  performs
Meter, music with an
Syncopated ecological
) content
 Melody
(Key
 creates
Signatures,
simple
Scale
Degree accompanim
names ents to local
Types and music
Qualities of
Intervals),
 Harmony SPA_MI
(Chord M8-IIa-d-
Functions,  demonstrates 4
 demonstrate
Tonic, the basic aural
s skills in
4. identifies  applies
Dominant, skills the elements technique in
music
of music singing or
Chord reading and
Progression ensemble playing
s), playing and instruments
 Tempo singing
 writes
(Grave,
 demonstrates an
Lento,
 stages experience
Prestissimo, understanding
musical paper on
Ritardando, of the various
performance the quarter
Accelerand methods and
with an activities
32
o, Rubato), techniques of ecological
 Dynamics(c singing and content
rescendo, instrument-  studies
decrescend playing  performs new pieces
o, music applying
diminuendo)  demonstrates through solo music
, understanding and with theory and
 Timbre of melody, accompani sight
harmony, ment reading
(Hornboeste
balance, and skills
l-Sachs
blending
Classificatio through  rehear
n, Voice – ensemble ses small
SATB, Solo, playing and group
Duet, group singing ensembles
Trio,Quartet
),
 Form
(Canon,
Fugue,
Sonata
Allegro,
Concerto,
Symphony)
2. Application of
the Elements of
Music through
the chosen
specialization:
voice and
instrument-
33
playing.
3. Instrument-
Playing/Singing
(Continuation
from Grade 7)
 Finger
positions/Posture
 Tone Production
& Resonance
 Embouchure
(winds);
bowing/plucking
(strings);
 Articulation
 Sight Singing
 Basic Sight
Reading
 Repertoire Study
 Choral Harmony,
Balance &
Blending
4.Rehearsals and
Performance of Pieces with
Ecological Content
34
3rd Q: Basic research, mapping of tangible and intangible musical cultures, Introduction
to Music II-C;

STANDARDS ES
A. OUR CULTURAL The learner… The learner… The learner… The

HERITAGE learner…
 CULTURAL MAPPING of
Cultural Resources: Tangible
 demonstrates  Map an 1. SPA_MC
and Intangible Using Creative
an inventory of Identifies and  resear H8-IIIa-b-
Integrated Arts Approaches understanding the tangible Classifies the ches on 1
of the cultural and tangible and his/her
resources of intangible communit
intangible
his/her cultural y’s
community, its resources cultural
cultural
different types, from their resources in heritage
and community his/her resources
significance and community and and
establish its its significance. establishe
significance. s their
. significan
ce SPA_MC
2.creates
maps of the H8-IIIa-2
 illustrates  draws
the heritage cultural or creates
icons in resources of visual
 demonstrates communities
his/her collages or
an
35
understanding community community
of local through a 3.creates maps
heritage icons cultural map scenes of illustrating SPA_MC
and their or visual human and various H8-IIIa-3
conditions collage socio-cultural tangible
situations and
based on intangible
these maps cultural
resources
4. identifies
 explor SPA_MC
the music
B. INTRODUCTION TO features of a es various H8-IIIa-4
MUSIC (Continuation) short heritage music
piece techniques
1. Elements of Music : to portray
heritage
 Rhythm (Simple & icons and
Compound Meter, human
Syncopated , Ostinato, situations
Drone),
 Melody (Key
 perfor
Signatures, Scale
ms music
Degree names Types
with a
and Qualities of heritage
Intervals, Modes), content
 Harmony (Chord
Functions, Tonic,
Dominant, Chord
Progressions, Drone &
Melody),
36
 Tempo (Grave,
Lento, Prestissimo,
Ritardando,  demonstrates  performs
Accelerando, Rubato), an basic musical  writes
 Dynamics(crescen understanding skills in voice an
of basic and/or experience
do, decrescendo,
elements of instrument- paper on
diminuendo),
performance playing the quarter
 Timbre and music activities
(Hornboestel-Sachs, Bel interpretation
Canto, Indigenous Vocal  rehear
Styles),  demonstrates ses small
 Form ( Sonata an  performs
group
Allegro, Concerto, understanding music ensembles
Symphony, Theme & of features pieces with
Variations, Cyclic form, related to cultural
Indigenous Forms) dynamics, tone heritage
2.Application of the gradation, content
Elements of Music articulation,
through the chosen and tempo
instrument-playing.  demonstrates
 performs
understanding
music
Instrument- of elements of
through solo
Playing/Singing music as
and with
(Continuation) applied to
accompani
 Finger indigenous
ment
forms
positions/Posture
 Tone Production
& Resonance  stages
 Embouchure  demonstrates music
37
(winds); an performance
bowing/plucking understanding with a cultural
(strings); of cultural heritage
 Articulation research content
 Sight Singing
 Basic Sight
 demonstrates
Reading understanding
 Repertoire Study of the
 Choral Harmony, performance of
Balance & music pieces
Blending with cultural
3.TECHNIQUE CLASS (Voice heritage
and Instrument): Performance content drawn
of Local Music Pieces from local
(Community Resources) community
resources
4.CULTURAL RESEARCH
Field Research Approaches
Creating Cultural Heritage
Maps and Selecting Icons for
Music Performance
 PERFORMANCE of Pieces
with CULTURAL HERITAGE
content
*NOTE
Teachers are free to
choose what elements of
music he/she thinks is
38
necessary to apply in the
course.
MUSIC GRADE 8 : FOURTH QUARTER
4th Quarter: Performance: instrument/voice/choir, Collaboration of the Different Art

Fields;

STANDARDS ES
A. MUSIC PERFORMANCE The learner… The learner… The learner… The

ON LIFE SOURCES AND learner…
CULTURAL HERITAGE
1.INTRO TO MUSIC:
ANALYSIS. The  demonstrates  perform 1.applies the SPA_MM
identification of features an fundamental appropriate P8-IVa-1
played in a short heritage understanding processes in musical
piece. The features would of program music with elements
relate to the ELEMENTS OF planning, creativity needed in the
rehearsal piece
MUSIC
preparation,
B. PROGRAM PLANNING and staging
 Basics of Planning a using the
Music Performance
integrated arts  performs
approach basic
39
 Rehearsal Preparation musical SPA_MP
 Staging the  demonstrates skills for P8-IVa-2
Performance an voice 2.analyzes  plans
understanding and the for a music
of the staging instrume importance of program
process nts a good music
utilizing programming,
C. REHEARSALS AND elements of rehearsal
PERFORMANCE: Plays production preparation,
values like and staging
and/or Music
Performances pertaining music, design,
to Life Sources, Heritage and movement  condu
and Culture cts various SPA_MM
 demonstrates  performs rehearsals
3.improvises P8-IVa-b-
an music pieces and run-
music based 3
understanding with cultural throughs
on local
of rehearsal heritage
cultural
and staging content
heritage  perfor
methods ms in front
leading to run- of an
throughs and audience SPA_MP
performances  performs P8-IVa-b-
music 4.identifies  condu 4
through solo acceptable cts a
and with rehearsal feedback
accompani methods session
ment applicable to with the
good program audience
planning
 performs
improvisa
tion of
40
 employs local
acceptable musical
rehearsal materials
methods to
good program  evalua
planning tes the
production
 applies process in
aspects of class
the
integrated  writes
arts a journal of
approach experience
in the s of the
staging entire
music Grade 8
performanc
es
*the
performance
standards for
the fourth
quarter will be
showcased in
collaboration
with all the
other art
fields
GRADE 8: Community Realities and Life Sources
41
Schedule
3-4 INTRO TO MUSIC II INSTRUMENTAL INTRO TO MUSIC II VOCAL ENSEMBLE INTRO TO MUSIC II
PM ENSEMBLE
PM
Coverage of INTRO TO MUSIC II:

1st Q: Community/Folk life and music; Introduction to Music II-A
2nd Q: Ecology and natural resources; Introduction to Music II-B
3rd Q: Basic research, mapping of tangible and intangible musical cultures; Introduction to Music II-C
4th Q: Performance: instrument/voice/choir; Collaboration of the Different Art Fields
Solo Performance/Collaboration: instrument/voice/choir---a) SOLO: WINDS, GUITAR, PIANO, STRINGS, percussion, VOICE; b)
INSTRUMENTAL ENSEMBLE: INDIGENOUS MUSIC ENSEMBLE (SLT PARTNERSHIP), Rondalla, Recorder, Chamber/Mixed; c)
CHOIR: SSA/SATB OR DIVISI
MATERIALS:
Introduction to Music: Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory Musicianship by Theodore
Lynn
Community/Folk Music: Dictionary of Filipino Musical Terms (UPCE), Anthology of Philippine Folk Songs by Damiana Eugenio, CCP
Encyclopedia of Music, Select Transcriptions of Philippine Folk Songs by Lilia Tolentino (unpublished thesis); Compendium of
Humanities by NRCP, Palabunibunyan by Aga Mayo Butocan, Gongs and Bamboo by Jose Maceda
Ecology: Soundscape by Murray Schafer, Earth Music by Arvin Villalon
Rondalla: Celso Espejo Rondalla Methods by Celso Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Philippine Rondalla
42
by Angelita Pasamba, Laro-Rondalya by Polvoriza, Muyco, Trangco, 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
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 by Van Christy
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
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
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
SPA CURRICULUM MUSIC
43
GRADE 9
Course Description
This is a course in SPA-Music specialization that aims the learner to demonstrates 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 and Western Medieval/Renaissance, Introduction to Music III-A
CONTENT CONTENT PERFORMANCE LEARNING POSSIBLE

STANDARDS STANDARDS COMPETENCIES ACTIVITIES
The learner… The learner… The learner… The learner…

A. Functions of Music in Daily Life
(Phil. & Western):
1.Rituals,
2.Worship  demonstrates an  performs 1. distinguishes  makes a SPA_MF9-
3.Leisure & Entertainment understanding of Philippine and the different table of Ia-1
4.Historical and Geographical cross-cultural Western music functions of comparison
Background comparison based on its music in for both
between Philippine Philippine and
functions to Philippine
and Western
daily life western setting and Western
musical
 Personages: development music
2. displays
Philippines: Ritualists (Babaylan, development
familiarity in various
Baki, etc.) GAMABA  traces the
performance
Western: Troubadors, Minstrels, practice of Western linear SPA_MF9-
44
Monks, Dancing Masters, Major music and Philippine historical Ia-2
Composers music development
of Philippine
3.Outline the historical and Western SPA_MF9-
and geographical music Ia-3
background of alongside
Philippines and historical
Western countries events
4.analyzes how socio- SPA_MF9-

cultural functions and Ia-4
historical events
affects musical forms
 performs basic across Philippine and
musical skills Western society
for voice and
instruments 5.distinguishes how
Philippine and
 performs SPA_MIM9-
Western music
music through  rehearses Ia-e-5
developed alongside
solo and with music showing
accompaniment each other through
knowledge of the
finding
musical elements
commonalities and
as applied in the
differences
music
 demonstrates an  applies
understanding of  sings or
additional
basic music plays
B. INTRODUCTION TO MUSIC reading, basic musical skills for
instruments with
(Continuation) vocal techniques, voice and
technique
45
instrument playing instrument appropriate to
1.Elements of Music : techniques, and playing the piece.
sight reading skills
 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 (Articulationslegato,
staccato, portamento, portato),
 Timbre (Local Instrument
Classification, Hornboestel-Sachs,
Bel Canto, Indigenous Vocal
Styles,
 Musical Instruments:
Gongs, Bamboo, Drums & Lutes
(Philippines); Recorder Consort,
Psaltery, Lutes, Viols, Tambor),
Form (Musical Genres:
Philippines: Ballads & Epics, Mimetic

Dances,
 Western: Plainchant, Madrigals,
Secular & Sacred, Mass, Dance
Suites
3. Application of the Elements of

46
instrument-playing.
(Continuation)
 Finger positions/Posture
 Tone Production & Resonance
 Articulation
 Basic Sight Reading
 Repertoire Study
 Choral Styles
Spanish Colonial Period versus Baroque, Classic and Romantic Periods, Introduction to Music III-B

A.Functions of Music in Daily Life

(Phil. & Western):
1.Sacred Music The learner… The learner… The learner… The learner…
2.Secular Music
1. describes the SPA_MF9-
47
2.Historical & Geographic : Colonial  demonstrates an  displays different  makes a IIa-1
Expansion & the Rise of Nationalism understanding of familiarity in functions of table of
cross-cultural various music in comparison
comparison performance Philippine and
 Personages: Adonay, Bonus, Illustre for both
between practice of
western setting Philippine
Philippine and Western music
 Troubadors, Minstrels, Monks, Western musical and Philippine and Western
2.distinguishes sacred
Dancing Masters, development music music
from secular music SPA_MF9-
development
IIa-2
3.Major Composers 3..identifies the
historical and  traces the
geographical linear
background of historical
Philippines and development
SPA_MF9-
western of Philippine
IIa-3
and Western
4. enumerates major music
composers of the alongside
Spanish colonial historical
period in the events SPA_MF9-
Philippines.
IIa-4
 rehearses
5. enumerates the music SPA_MF9-
major composers of showing IIa-5
the baroque, classical knowledge of
and romantic periods. the musical
6.analyzes how elements SPA_MF9-
socio-cultural applied in the IIa-6
functions and music
48
historical events
affects musical forms
across Philippine and
Western society
7..distinguishes how
SPA_MF9-
Philippine and
IIa-7
Western music
developed alongside
each other through
 sings or
finding
plays
commonalities and
instruments
differences
with
technique
appropriate
to the
performance
B. INTRODUCTION TO MUSIC
(Continuation) practice of
8. applies additional the piece.
 demonstrates musical skills for
an understanding of  demonstrates SPA_MI9-
1.Elements of Music : voice and instrument
basic music basic musical IIa-e-8
playing
reading, basic vocal skills in voice
 Rhythm (Review of Simple techniques, and/or
and Compound Meter), instrument playing instrument-
 Melody (Review of Major techniques, and playing
and Minor Tonality), sight reading skills
 Harmony (Basso Continuo,  performs
Figured Bass, Alberti Bass), music through
 Tempo (Grave, Lento, solo and with
49
Prestissimo, Ritardando, accompaniment
Accelerando, Rubato),
 Dynamics(Articulations,  applies
legato, staccato, appropriate
portamento, portato), technical skills
 Timbre ( Instruments of the in performing
Orchestra Hornboestel- Philippine and
Sachs, Bel Canto, Western music
 Musical Instruments:
Baroque, Classic & Romantic
Orchestras
 Music Genres:
Philippines: Kundiman, Misa,
Balitaw, Danza, Kumintang, Jota,
Curacha, Habanera, Sarswela,
Komedya, Pasyon, Subli,
Senakulo, Panunuluyan, Gozo,
Villancico, Pastores, Daigon
Western: Oratorio, Opera, Sonata,
Symphony, Concertos, Tone Poem,
Program Music, Art Songs,
(Chansons, Lied, etc.)
2. Application of the Elements of Music

through the chosen specialization:
voice and instrument-playing.
50
(Continuation)
 Articulation
 Interpretations
 Choral Styles
*NOTE
Teachers are free to choose what
elements of music he/she thinks is
necessary to apply in the course.
51
3rd Quarter: American and Japanese Occupation. Introduction to Music III-C

A.Functions of Music in Daily Life

(Phil. & Western):
1.Leisure and Entertainment The learner… The learner… The learner… The learner…
2.Art Music
3.Popular Music
 demonstrates an 1.describes the
4.Historical & Geographic understanding of  displays different  makes a SPA_MF9-
Background cross-cultural familiarity in functions of table of IIIa-1
comparison various music in comparison
between Philippine performance Philippine and
for both
and Western practice of western setting
Western music Philippine
 Personages: Philippines: musical
development and Philippine and Western
Abelardo, Santiago, Molina SPA_MF9-
music 2.identifies the music
National Artists for Music IIIa-2
historical and development
 Major Composers & Major Works
geographical
background of  traces the
Philippines and linear
western
historical
development
B. INTRODUCTION TO MUSIC of Philippine
SPA_MF9-
(Continuation)  demonstrates an 3.analyzes how and Western
IIIa-3
understanding of socio-cultural music
1. Elements of Music basic music functions and alongside
 demonstrates
reading, basic vocal historical events
52
 Rhythm (Free Meter, techniques, basic musical affects musical historical
Changing Meter, Mixed instrument playing skills in voice forms across events
Meter , Polymeter), techniques, and and/or Philippine and  rehearses
 Melody (Whole-Tone, sight reading skills instrument- Western society music
Polytonal, Twelve- playing
showing
Tone),
4.distinguishes knowledge of
 Harmony (Quartal
how Philippine the musical
Chords, Quintal, SPA_MF9-
Heptachords, and Western elements as
IIIa-4
Hexachords), music applied in the
 Tempo (Grave, Lento, developed music
Prestissimo, alongside each  sings or
Ritardando, other through plays
Accelerando, Rubato), instruments
finding
 Dynamics (extreme with
 performs commonalities
dynamics and technique
articulations ex. music through and differences
solo and with appropriate
Fortississimo),
 Timbre (Unconventional accompaniment  5. applies to the
Instruments and additional performance
Manners of Playing,  applies musical skills for practice of
Prepared Piano, appropriate voice and the piece. SPA_MF9-
Electronic instruments, technical skills IIIa-e-5
instrument
Popular in performing
Philippine and playing
music instruments)
Western music
Form (Musical Genres:
Philippines: Sarswela, Kundiman,
Bodabil, Music from the Japanese Period
53
 Western: Gesamkünswerke,
Neoclassical, Avante-Garde,
Minimalist Music, ,
Chance/Aleatory Music,
Indeterminacy, Jazz, Rhythm and
Blues
2.Application of the Elements of

instrument-playing.
(Continuation)
 Articulation
 Choral Styles
*NOTE
Teachers are free to choose what
elements of music he/she thinks is
necessary to apply in the course.
54
MUSIC GRADE 9 : FOURTH QUARTER FOURTH GRADING PERIOD
4th Quarter: Performance of instrument/voice/choir; Collaboration of the Different Art Fields;

A. Application of the Elements of

specialization: The learner… The learner… The learner… The learner…
1.voice
2. instrument-playing.  demonstrates an  demonstrates 1. displays knowledge  makes a practice SPA_MA9-
understanding of basic musical in performing basic plan detailing IVa-1
Instrument-Playing/Singing basic music skills in voice musical performances technical
(Continuation) reading, basic and/or requirements for
 Finger positions/Posture vocal techniques, instrument- pieces
instrument playing playing 2.displays knowledge SPA_MA9-
techniques, and in music program  rehearses IVa-2
 Embouchure (winds); planning
sight reading skills  performs music showing
music through
 Articulation knowledge of the
solo and with
 Basic Sight Reading musical elements
accompanime
 Repertoire Study nt as applied in the
 Choral Styles music
 sings or
B.PROGRAM PLANNING plays instruments
1.Basics of Planning a Music  employs with technique
Performance acceptable
2.Rehearsal Preparation appropriate to the
rehearsal
3.Staging the Performance performance
methods to good
program practice of the
planning piece.
55
 applies
aspects of
the integrated
arts approach
in the staging
music
performances
*the
performance
standards for
the fourth
quarter will be
showcased in
collaboration
with all the
other art fields
GRADE 9: History and Heritage
56
3-4 HERITAGE AND MUSIC INSTRUMENTAL HERITAGE AND MUSIC INSTRUMENTAL HERITAGE AND MUSIC
PM ENSEMBLE/VOICE/CHOIR ENSEMBLE/VOICE/CHOIR
4-5 SOLO INSTR SOLO INSTR / SOLO INSTR
PM
INTRO TO HERITAGE:
1st Q: Historical Periods: Pre-Colonial Philippines and Western Medieval/Renaissance, Introduction to Music III-A
2nd Q: Spanish and Baroque, Classic and Romantic Period, Introduction to Music III-B
3rd Q: American and Modern Period, Introduction to Music III-C
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
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
57
Strings: NAMCYA Violin Series, Suzuki Method Book I, Mel Bay Modern Violin, Hal Leonard Essential Elements for Strings, Alfred String Builder,
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

GRADE 10
Course Description
58
This is a course in SPA- Music Specialization that aims the learner to demonstrates an understanding of the basic concepts and principles
of MUSIC interacting with other disciplines relevant to the creation of major works reflecting Contemporary Realities for the PROFICIENCY
in artistic creativity, leading to a sense of self, cultural identity, and social responsibility
MUSIC GRADE 10 : FIRST QUARTER
1ST QUARTER: LOCALIZATION (NATIONAL AND ASIAN), Composition I-A

STANDARDS STANDARDS COMPETENCIE ACTIVITIES
S
A. The Philippines from

Independence to Present The learner… The learner… The learner… The learner…
Times: Modern &
Contemporary Music)
 1946-60’s:
1.Demonstrates  Performs the genres  Identifies SPA_M
Influence of
Modern and British understanding of of music (vocal the genres and 110-Ia-1
Music; Philippine music /instrumental) from proponents of
Pilita Corrales development from Philippine music from
Diomedes Maturan Philippine Independence to Philippine
Ric Manrique Independence to present times. Independence
Mabuhay Singers, Present times. to the present
Levi Celrio, Lucio
San Pedro, Felipe
deLeon Sr.,
 70’s-80’s: Rise of
Filipino
59
Nationalism;
Protest Songs,
Manila Sound,
OPM , Filipino
Novelty,Edsa
revolution
 90’s to Present:
Filipino Rap,
Filipino Pop,
Korean Invasion,
Broadway (Miss
Saigon, etc)
2.Issues Intellectual  demonstrates

Property Rights, understanding of
issues related to  conducts interviews 2.Outlines the  compos SPA_MI
3.Performers Rights the music to local artists about the different issues es or 10-Ia-2
profession affecting the arranges for
different issues in the music
 Institutions: CCP, profession. music particular
NCCA, NCIP, profession. instruments
NAMCYA, OPM, and/or voices
Filscap, 3.Advocates for given SPA_M
intellectual themes/func BC10-
property rights. tions Ia-j-3
 discuss
 Composes music es the
reasons
behind the
issues
 demonstrates besetting
B.Basic SPA_M
60
Composition an understanding 4.Employs the music AE10-
(Conceptualization, of basic creativity in profession Ia-j-4
Representation of compositional composition and how
Sound: Standard or concepts and and
these can
Graphic Notation, techniques arrangements.
be
Instrumentation  Arranges music
addressed
 makes
1.Arranging a database
5.familiarizes SPA_M
 Performs basic skills for of
 demonstrates with various MT10-
voice and instrument- organization
familiarity with playing. performance Ia-c-5
s that
music software having diverse
musical styles. advocate
for notation,
recording, music and
 Notates, transcribes,
C. Music sequencing performer’s
records, or sequences
Technology 6. applies music rights for
music. SPA_M
Software technology future
AE10-
software in reference
 demonstrates Ia-j-6
 performs music through notating,  rehear
an sequencing and ses music
solo and with
understanding
D. Application of the accompaniment recording. showing
of basic music
Elements of Music reading, basic knowledge
through vocal of the
composition and techniques,  Performs diverse musical
musical skills 6. Shows
the chosen instrument elements
mastery of
specialization: voice playing and styles
musical
and instrument- techniques, and  sings
elements
playing. sight reading
through varied or plays
skills
Instrument- musical instruments
61
Playing/Singing performance. with
(Continuation) technique
 Finger appropriate
positions/Posture to the
 Tone Production & performanc
Resonance e practice of
 Embouchure the piece.
(winds);
bowing/plucking
(strings);
 Articulation
 Basic Sight
Reading
 Choral Styles
 Interpretation of
composed works
2nd Quarter: LOCALIZATION (NATIONAL AND ASIAN), Composition I-B

62
A. The Philippines in the  Demonstra  Presents a simulated 1.distinguishes SPA_M

Context of ASEAN; tes performance of ASEAN Philippine music 110-IIa-
e.g. Indonesia- understanding music. from ASEAN 1
Gamelan/Anklung; folk of Philippine music .
songs , integrated arts in
music in the
the ASEAN context
(dance-drama; shadow ASEAN
puppet, music theater) context. .
1.Tradition &
Change: ASEAN
MUSIC
2.ASEAN Integration,
Cultural Ethics
B .Issues; Tradition and

Change; ASEAN
Integration
C. Simulated  create basic music

Performance of ASEAN 
compositions or  compo
Music
arrangements ses or
arranges for
particular
instruments
63
and/or voices
2.develops for given
D. Continuation of creativity in themes/functi SPA_MI
Basic Composition conceptualizing 10-IIa-2
(Conceptualization,  demonstrates  demonstrates basic ons
basic music
Representation of an musical skills in voice compositions or
Sound: Standard or understanding and/or instrument-playing arrangements
Graphic Notation, of basic
Instrumentation compositional
concepts and
techniques
 notates
3.displays
familiarity in , transcribes,
SPA_M
1.Arranging  demonstrates various sequences,
BC10-II-
an performance records
understanding practice of a-j-3
music using
of basic music diverse musical appropriate
reading, basic styles
music
vocal
techniques, technology
instrument  uses technology to tools
playing notate, transcribe,
techniques, record or sequence  discuss
and sight music es the
reading skills reasons
behind the
SPA_M
issues
4.displays AE10II-
C.Music knowledge in besetting the
a-j-4
Technology using music music
Software  demonstrates technology profession
familiarity with software and how
64
music these can be
software for addressed
notation,  performs music with
recording, and fundamental musicianship  intervie
sequencing (performs alone and with ws or
D. .Application of the others in pitch, rhythm, 5. displays
corresponds
Elements of Music expression, and style ) mastery of the
through composition with music
basic musical
and the chosen  applies appropriate organizations
elements
specialization: voice technical skills in regarding SPA_M
through musical
and instrument-playing. performing diverse issues in MT10-
performances.
musical styles music IIa-c-5
Instrument-
Playing/Singing  rehear
(Continuation) ses music
 Finger showing
positions/Posture knowledge of
 Tone Production &
the musical
Resonance
elements
 Embouchure
and styles
(winds);
bowing/plucking
 sings
(strings);
 Articulation or plays
 Basic Sight instruments
Reading with
 Repertoire Study technique
 Choral Styles appropriate
 Interpretation of to the
composed works performance
65
practice of
the piece.
MUSIC GRADE 10 : THIRD QUARTER THIRD GRADING PERIOD
3rd Quarter: GLOBALIZATION, MASS MEDIA AND MUSIC TECHNOLOGY, Composition I-C
CONTENT PERFORMANCE LEARNING POSSIBLE

CONTENT
66
 demonstrates  performs a musical 1.distinguishes  compo

A. Philippines and an genre for each each musical ses or
Globalization (e.g. understanding genre . SPA_M
region of the world. arrang
Middle East, South of 110-IIIa-
es for
Pacific, East Asian, globalization 1
African, Latin in music. particul
American, ar
 conducts  analyzes
Fusion/Cross-over instrum
researches about the reasons
Music) ents
music behind the
and/or
 Issues in Music: organizations that issues in the
voices
1.Tradition & Change,  demonstrates deal with issues and musical
for
2.Commercialization, understanding music advocacy profession
given
3.Globalization of issues
4. Diaspora, related to the themes
5.Work Exploitation & music 2.displays /functio
Labor Laws, profession awareness in ns
6.Cultural Ethics music advocacy
7. Intellectual Property and issues
Rights,
SPA_MI
B .Music in Media: 10-IIIa-2
Radio, TV, Film,
Internet, Print  notates
 create basic music ,
 Institutions: compositions or transcribes,
IMusicCouncil, arrangements
sequences,
IPhilippine Society for
Music Education, records
67
PASAMBAP,PHILBAND  demonstrates basic music using
A,Council for Trad musical skills in voice appropriate
Music, IFederation of and/or instrument- music
Choral Music, ISociety playing technology
of Contem Music, Asian
Composers League, tools
PCDA, UNESCO 3.develops  discuss
 uses technology to
notate, transcribe, creativity in es the
record or sequence conceptualizing reasons
C. Continuation of Basic  demonstrates basic music behind the
Composition music
an compositions or issues
(Conceptualization, understanding arrangements SPA_M
Representation of Sound:  performs music with besetting
of basic BC10-
Standard or Graphic fundamental the music
music III-a-j-3
Notation, Instrumentation musicianship (performs profession
reading, basic
 Arranging alone and with others in and how
vocal
D. Music pitch, rhythm, 4.displays these can
techniques,
Technology expression, and style ) familiarity in
instrument be
Software playing various addressed
techniques,  applies appropriate performance
technical skills in  interviews
E. Application of the and sight practice of
Elements of Music performing diverse diverse musical or SPA_M
reading skills
through composition musical styles styles corresponds AE10III-
and the chosen with music a-j-4
specialization: voice  demonstrates organization
and instrument- an s regarding
playing. understanding issues in
of basic music
Instrument- compositional  rehear
Playing/Singing concepts and 5.displays
knowledge in ses music
(Continuation) techniques
using music showing
 Finger
68
positions/Posture technology knowledge SPA_M
 Tone Production &  demonstrates software of the MT10-
Resonance familiarity with musical IIIa-c-5
 Embouchure music 6. displays
elements
(winds); software for mastery of the
basic musical and styles
bowing/plucking notation,
elements  sings SPA_M
(strings); recording, and
sequencing through musical or plays AE10-
 Articulation
performances. instruments IIIa-j-6
 Basic Sight
with
Reading
 Repertoire Study technique
 Choral Styles appropriate
 Interpretation of to the
composed works performanc
e practice of
the piece.
69
MUSIC GRADE 10 : FOURTH QUARTER FOURTH GRADING PERIOD
4th Q:Careers in Music, Contemporary Perspective , Performance/Collaboration

A .CAREERS IN The learner… The learner… The learner… The learner…

MUSIC
1.Composers /  demonstrate  demonstrate creativity 1.identifies the  compo SPA_M
Arrangers an in conceptualizing and various music ses or C10-
2.Conductors understanding making music professions, arranges for IVa-b-1
3.Music Educators / of the nature of compositions or their training and particular
Mentor the work of arrangements
nature of work instruments
4.Musicologist / various music
Researcher careers  demonstrates basic and/or voices
5. Music Producer / musical skills in voice for given
Manager and/or instrument- themes/functi
6.Music Technologist playing 2.evaluates ons
/ Sound Engineer one’s aptitude,
7.Music Therapist interest and  prepares a
70
8.Performers abilities in music
(Singers, relation to the portfolio of
Instrumentalists) various music music
 demonstrates an professions
performance
B.PROGRAM understanding of
s using
PLANNING program  employs acceptable
3.displays appropriate SPA_M
1.Basics of Planning planning, rehearsal methods
a Music rehearsal applicable to good familiarity in music C10-
Performance preparation, and program planning various technology IVa-2
2.Rehearsal staging using performance tools
Preparation the integrated practice of
3.Staging the arts approach  makes diverse musical  discusses the
Performance compositions and styles
types of work
 demonstrates arrangements for and training
an various musical
for certain
understanding forms and functions
of basic music careers in
reading, basic music SPA_M
vocal  interviews or AE10-
techniques,  performs music corresponds IVa-j-3
instrument with fundamental with various
playing musicianship music
techniques, (performs alone professionals
and sight and with others in
C. Application of the reading skills 6. displays mastery regarding the
pitch, rhythm,
of the basic training and
Elements of Music expression, and
musical elements nature of
through the chosen style )
through musical
specialization: voice their music
performances.
and instrument-playing. profession
 rehearses
Instrument-  demonstrates music
Playing/Singing
71
(Continuation) an showing
 Finger understanding  uses technology to knowledge of
positions/Posture of basic document music the musical
 Tone Production & compositional performances elements
Resonance concepts and
techniques and styles
 Embouchure (winds);  applies aspects of the SPA_M
bowing/plucking integrated arts  sings or plays AE10-
(strings);  demonstrates approach in the instruments IVa-j-6
 Articulation staging music
an with
 Basic Sight Reading performances
understanding technique
*the performance
 Repertoire Study of the staging appropriate
standards for the fourth
 Choral Styles process quarter will be to the
utilizing showcased in
elements of performance
collaboration with all the
production other SPA art fields practice of
values like the piece.
music, design,
and movement  plans for a
music
program
 conducts
various
rehearsals
and run-
throughs
 performs in
front of an
audience
72
 evaluates the
production
process in
class
 writes a
journal of
experiences
of the entire
Grade 10
experience
GRADE 10: CONTERMPORARY REALITIES
3-4 MUSIC in INSTRUMENTAL MUSIC in INSTRUMENTAL MUSIC in Contemporary

PM Contemporary times ENSEMBLE/VOICE/CHOI Contemporary times ENSEMBLE/VOICE/C times
4-5 SOLO INSTR/CREATIVE R SOLO HOIR/ SOLO INSTR/CREATIVE

PM MUSIC WRITING INSTR/CREATIVE MUSIC WRITING
MUSIC WRITING
1ST AND 2ND Q: Issues in Music, LOCALIZATION (NATIONAL AND ASIAN) Composition I-A/B;
3rd: GLOBALIZATION and MASS MEDIA AND MUSIC (TECHNOLOGY) Composition I-C;
Q: 4th Q: Careers in Music, Contemporary Perspective ; Performance/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
73
DIVISI
MATERIALS:
Intro to Contemporary Times: Tunugan: Four Essays on Philippine Music by Ramon Santos, Laon-Laon by Ramon Santos, Garland
Encyclopedia of Southeast Asian Music, The Music and Technology Reference Book, Mass Media and Music, The Art of Noise, The Devil
Running with the Music, Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory Musicianship by Theodor Lynn
Choir: NAMCYA Choral Series, Sundry (reprint), Koro Leyteno, Mga Awiting Bayan ed. by Andrea Veneracion, The Choral Works by Lucio San
Pedro, Awiting Bayan II by NCCA
Solo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Anthology of Italian Arias, Voice
Methods of Concone, Marchesi, MacClosky, Van Christy
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
Piano: Czerny 636, Bach Two-Part Inventions, Haydn Sonatinas/Sonata, Bartok for Children, Seleksiyon and Likha Tugtugin by Augusto
Espino, Score Series by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series
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 II, 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 Methods, Elaine Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Pasamba, Laro-Rondalya by
Polvoriza, Muyco, Trangco, and Perez
Computer Software: Finale/Sibelius, Audacity, MusScore, Reason, GarageBand, Audition

www.upethnom.com
74
GRADES 11 & 12
75
GRADE 11: MUSIC AND SPECIALIZATION I
3-4 MUSIC AND DISCIPLINE INSTRUMENTAL MUSIC AND INSTRUMENTAL MUSIC AND
PM ENSEMBLE/VOICE/CHO DISCIPLINE ENSEMBLE/VOIC DISCIPLINE
4-5 SOLO INSTR/CREATIVE IR SOLO E/CHOIR/ SOLO

PM MUSIC WRITING INSTR/CREATIVE INSTR/CREAT
MUSIC WRITING IVE MUSIC
WRITING
MATERIALS:
Intro to Contemporary Times: Tunugan: Four Essays on Philippine Music by Ramon Santos, Laon-Laon by Ramon Santos,
Garland Encyclopedia of Southeast Asian Music, The Music and Technology Reference Book, Mass Media and Music, The Art
of Noise, The Devil Running with the Music, Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory
Musicianship by Theodor Lynn
Choir: NAMCYA Choral Series, Sundry (reprint), Koro Leyteno, Mga Awiting Bayan ed. by Andrea Veneracion, The Choral
Works by Lucio San Pedro, Awiting Bayan II by NCCA
Solo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Anthology of
Italian Arias, Voice Methods of Concone, Marchesi, MacClosky, Van Christy
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
Guitar: Carcassi, Sor, Hal Leonard Guitar Method Books 1 – 3, 2 nd edition (2002), Mel Bay, Hohmann-Wohlfarth
Piano: Czerny 636, Bach Two-Part Inventions, Haydn Sonatinas/Sonata, Bartok for Children, Seleksiyon and Likha Tugtugin
by Augusto Espino, Score Series by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series
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 II, Mel Bay Modern Violin, Hal Leonard Essential Elements for Strings,
76
Alfred String Builder, Kjosk Essential for Strings, Habits of a Successful String Musician: Full Score
Rondalla: Celso Espejo Rondalla Methods, Elaine Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Pasamba,
Laro-Rondalya by Polvoriza, Muyco, Trangco, and Perez
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

www.upethnom.com
GRADE 12: MUSIC AND SPECIALIZATION II
3-4 MUSIC AND DISCIPLINE INSTRUMENTAL MUSIC AND DISCIPLINE II INSTRUMENTAL MUSIC AND
PM II ENSEMBLE/VOICE/CHOI ENSEMBLE/VOICE/CHOI DISCIPLINE II
4-5 SOLO INSTR/CREATIVE R SOLO INSTR/CREATIVE R SOLO

PM MUSIC WRITING MUSIC WRITING INSTR/CREATIVE
Internship Internship
MUSIC WRITING
1ST Q: Performance, Technology, and Research; 2nd and 3rd Q: Music Management; 4th Q: Integration
Performance: 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:
Intro to Contemporary Times: Tunugan: Four Essays on Philippine Music by Ramon Santos, Laon-Laon by Ramon Santos, Garland Encyclopedia
77
of Southeast Asian Music, The Music and Technology Reference Book, Mass Media and Music, The Art of Noise, The Devil Running with the Music,
Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory Musicianship by Theodor Lynn
Choir: NAMCYA Choral Series, Sundry (reprint), Koro Leyteno, Mga Awiting Bayan ed. by Andrea Veneracion, The Choral Works by Lucio San
Pedro, Awiting Bayan II by NCCA
Solo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Anthology of Italian Arias, Voice
Methods of Concone, Marchesi, MacClosky, Van Christy
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
Piano: Czerny 636, Bach Two-Part Inventions, Haydn Sonatinas/Sonata, Bartok for Children, Seleksiyon and Likha Tugtugin by Augusto Espino,
Score Series by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series
Strings: NAMCYA Violin Series, Suzuki Method Book II, Mel Bay Modern Violin, Hal Leonard Essential Elements for Strings, Alfred String Builder,
Rondalla: Celso Espejo Rondalla Methods, Elaine Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Pasamba, Laro-Rondalya by
Polvoriza, Muyco, Trangco, and Perez
78

Music For Special Program in The Arts (Spa) Curriculum Guide

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Music For Special Program in The Arts (Spa) Curriculum Guide

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MUSIC

FOR SPECIAL PROGRAM IN THE ARTS (SPA)

Draft prepared by: Jocelyn T. Guadalupe,

As of June 25, 2014

SPA MUSIC CURRICULUM

Source: K-10 Philosophy and Rationale for Music Education

GRADE 12 ADVANCED - MUSIC

GRADE 11 COMPETENCE - MUSIC

GRADE 10 PROFICIENCY - MUSIC IN ASIAN,

GRADE 9 MUSIC SKILLS DEV’T II: -PHILIPPINE

GRADE 7 ELEMENTS OF MUSIC -BASIC

BASIC MUSIC SKILLS -SELF

*Adapted From National Standards for Arts Education, 1994

SPA MUSIC CURRICULUM

LEARNING AREA STANDARD:

KEY STAGE STANDARD

GRADES 7-10 GRADES 11-12

GRADE GRADE LEVEL STANDARDS

 Track A: Tertiary Education

Course Scope, Content and Materials:

GRADE Level: Quarter or Grading Period

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY

4-5 SOLO INSTR SOLO INSTR SOLO INSTR

MUSIC GRADE 7 : FIRST QUARTER FIRST GRADING PERIOD

CONTENT CONTENT PERFORMANCE LEARNING CODES

The learner… The learner… The learner…

8.practice regular warm- SPA_MVC7-

E. Warm-Ups and Caring for

MUSIC GRADE 7 : SECOND QUARTER SECOND GRADING PERIOD

CONTENT CONTENT PERFORMANCE LEARNING

3. Depictions through 2-3 2. interprets stories, SPA_MLCE7

3rd Quarter: Rituals and Festivals, Introduction to Music I-B

CONTENT PERFORMANCE LEARNING

1.Local/ Regional Rituals

 demonstrates 2. analyzes significant SPA_MCER

MUSIC GRADE 7 : FOURTH QUARTER

CONTENT CONTENT PERFORMANCE LEARNING

A. INTRODUCTION TO The learner... The learner... The learner...

 Application of the Elements of

Course Scope, Content and Materials:

GRADE 7: Integrated Language

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY

4-5 SOLO INSTR SOLO INSTR SOLO INSTR

Coverage of INTRO TO MUSIC:

Website resource: www.giamusic.com, www.teoria.com, www.solfege.org, www.culturalequity.org , www.folkways.si.edu, www.upethnom.com

MUSIC GRADE 8 : FIRST QUARTER FIRST GRADING PERIOD

Community/Folk life and music, Introduction to Music II-A

MUSIC GRADE 8 : SECOND QUARTER

2nd Q: Ecology and natural resources, Introduction to Music II-B;

CONTENT CONTENT PERFORMAN LEARNING POSSIBLE

B. INTRODUCTION TO  demonstrates  create a

MUSIC GRADE 8 : THIRD QUARTER

CONTENT CONTENT PERFORMAN LEARNING POSSIBLE

A. OUR CULTURAL The learner… The learner… The learner… The

MUSIC GRADE 8 : FOURTH QUARTER

4th Quarter: Performance: instrument/voice/choir, Collaboration of the Different Art

CONTENT CONTENT PERFORMAN LEARNING POSSIBLE

A. MUSIC PERFORMANCE The learner… The learner… The learner… The

GRADE 8: Community Realities and Life Sources

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY

Coverage of INTRO TO MUSIC II:

Website resource: www.giamusic.com, www.teoria.com, www.solfege.org, www.culturalequity.org , www.folkways.si.edu,