guroako.com · Web viewword Fine) MU6FO-IIIc-3 pp.39 3.5 :: 3.6 *Manwal ng Guro 1 2 Umawit at (ending 1, ending 2) Gumuhit 6. Valdecantos, Emelita C. 1999. pp.38-40 K to 12 Music

Republic of the PhilippinesDepartment of Education

DepEd Complex, Meralco AvenuePasig City

K to 12 Curriculum Guide

MUSIC(Grade 1 to Grade 10)

May 2016

K to 12 BASIC EDUCATION CURRICULUM

CONCEPTUAL FRAMEWORK

Both the Music and the Arts curricula focus on the learner as recipient of the knowledge, skills, and values necessary for ar tistic expression and cultural literacy. The design of the curricula is student-centered, based on spiral progression of processes, concepts and skills and grounded in performance-based learning. Thus, the learner is empowered, through active involvement and participation, to effectively correlate music and art to the development of his/her own cultural identity and the expansion of his/her vision of the world.

As Music and Arts are performance-based disciplines, effective learning occurs through active experience, participation, and performance, creative expression, aesthetic valuation, critical response, and interpretation. The skills that are developed include reading/analyzing, listening/observing, performing, (singing, using musical instruments, movement, acting, and playing, using different art materials, techniques and processes, responding, composing, and creating. (See Figure 1 and Figure 2)

The philosophical foundations upon which standards and competencies are based include: A Process of Education by Jerome Bruner, Performance-Based Learning by Cleve Miller, Aesthetic Education by Bennett Reimer, 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 N ational Research Council of the Philippines, 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.

K to 12 Music Curriculum Guide May 2016 Page 2of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to schools.


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 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 thought 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 instils, within every individual Filipino learner, pride in his/her own cultural identity.



Figure 1. The Curriculum Framework of Music and Arts Education



Grade 12Mastery of Proficiency in the chosen form or genre

Grade 11Mastery of Proficiency in the chosen form or genre

Grade 10Application of Contemporary Music and Arts

Grade 9Application – Western Music and Arts

Grade 8Application – Asian Music and Arts

Grade 7Application – Philippine Folk Music and Arts

Grade 6Application for Appropriate Mastery and Acquisition of Skills

Grade 5Exploration – Elements / Processes

Grade 4Formal Introduction to Elements / Processes

Grade 3Preliminary Acquisition of Basic Knowledge and Skills

Grade 2Enhanced Understanding of Fundamental Processes

Grade 1Introduction to the Fundamental Processes

KindergartenExposure to the Different Music & Art Processes(Experiential Learning)

Figure 2. Content of Music and Arts per Grade LevelK to 12 Music Curriculum Guide May 2016 Page 5of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to schools.

K to 12 BASIC EDUCATION CURRICULUMTable 1. Basic Reference for Music Content

Music Elements Music Processes

-creating)

(including movement)

*No formal instruction in harmony

from K to 3



LEARNING AREA STANDARD: The learner demonstrates an understanding of basic concepts and processes in music and art through appreciation, analysis and performance for his/her self-development, celebration of his/her Filipino cultural identity and diversity, and expansion of his/her world vision.

KEY STAGE STANDARDS:

K - 3 4 - 6 7 – 10

The learner demonstrates The learner demonstrates understanding

The learner demonstrates understanding

understanding of fundamental of basic elements and concepts through

of salient features of music and art of

processes through performing, creating, and responding,

the Philippines and the world, through

performing, creating, and responding,

aimed towards the development of appreciation, analysis, and performance,

aimed towards the development of appreciation of music and art, and for self-development, the celebration of

appreciation of music and art, and acquisition of basic knowledge and skills.

Filipino cultural identity and diversity,

acquisition of basic knowledge and and the expansion of one’s world vision.

skills.

K to 12 Music Curriculum Guide May 2016 Page 7of 94

Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to schools.

K to 12 BASIC EDUCATION CURRICULUMGRADE LEVEL STANDARDS:

Grade Level Grade Level Standards

Kindergarten The learner is exposed to the different basic music and art processes through experiential learning.

Grade 1 The learner demonstrates basic understanding of the fundamental processes in music and art, through performing, creating, listening and observing, andresponding.

Grade 2 The learner demonstrates understanding of the basic and fundamental processes in music and art, through performing, creating, listening and observing,and responding.

Grade 3 The learner has acquired the basic and fundamental processes through performing, creating, listening and observing, and responding, towards thedevelopment of appreciation of music and art, and the acquisition of basic knowledge and skills.

Grade 4 Through the formal introduction of elements, the learner can identify the basic knowledge and skills in music and art, towards self-development, thecelebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

Grade 5 Through exploration, the learner demonstrates a deeper understanding of basic knowledge and skills in music and art, towards self-development, thecelebration of Filipino cultural identity and diversity, and expansion of one’s world vision.

Grade 6 Through application, the learner demonstrates understanding of the basic concepts of and processes in music and art, towards self-development, thecelebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

Grade 7 The learner demonstrates basic understanding of the fundamental processes in music and the arts through performing, creating, listening and observing,and responding towards appreciation of the cultural richness of the different provinces in the Philippines.

Grade 8 The learner demonstrates understanding of salient features of Asian music and the arts, through appreciation, analysis, and performance for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

Grade 9 The learner demonstrates understanding of salient features of Western music and the arts from different historical periods, through appreciation, analysis,and performance for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

Grade 10 The learner demonstrates understanding of salient features of contemporary music and the arts, through appreciation, analysis, and performance, for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.

K to 12 Music Curriculum Guide May 2016 Page 8of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.

*These materials are in textbooks that have been delivered to schools.

K to 12 BASIC EDUCATION CURRICULUMGRADE 1

ELEMENTS OF MUSIC

CONTENT CONTENT STANDARDS

PERFORMANCE LEARNING COMPETENCY CODE LEARNINGSTANDARDS MATERIALS

FIRST QUARTERI. RHYTHM demonstrates basic responds appropriately to Pilot School MTB-

understanding of sound, the pulse of the sounds MLE1. Distinction Between silence and rhythm heard and performs with 1. identifies the difference

Sound and Silence accuracy the rhythmic between sound and silence MU1RH-Ia-12. Steady Beats patterns accurately3. Simple Rhythmic

Patterns4. Ostinato Pilot School MTB-

MLE2. relates images to sound and

Music, Arts, Physical

silence within a rhythmic MU1RH-Ib-2 Education andpattern Health 2.Illagan,Amelia M. et.al,

2013 pp.3-83. performs echo clapping MU1RH-Ib-3 Pilot School MTB-

MLE4. maintains a steady beat Pilot School MTB-

when chanting, walking, MU1RH-Ic-4 MLEtapping, clapping, andplaying musical instruments

5. claps, taps, chants, walks Pilot School MTB-and plays musical MLEinstruments with accuraterhythm in response to sound

MU1RH-Ic-5

o in groupings of 2so in groupings of 3so in groupings of 4s

6. creates simple ostinato Pilot School MTB-patterns in groupings of 2s,

MU1RH-Id-e-6 MLE

3s, and 4s through body Music, Arts,

Physicalmovements



K to 12 BASIC EDUCATION CURRICULUMCONTENT CONTENT

STANDARDSPERFORMANCE LEARNING COMPETENCY CODE LEARNING

STANDARDS MATERIALSI. RHYTHM demonstrates basic responds appropriately to Education and

understanding of sound, the pulse of the sounds Health 2.Illagan,1. Distinction Between silence and rhythm heard and performs with Amelia M. et.al,

Sound and Silence accuracy the rhythmic 2013 pp.25-312. Steady Beats patterns 7. performs simple ostinato Pilot School MTB-3. Simple Rhythmic patterns on other sound MU1RH-If-g-7 MLE

Patterns sources including body parts

4. Ostinato 8. plays simple ostinato MU1RH-Ih-8 Pilot School MTB-MLE

patterns on classroominstruments Music, Arts, Physical

8.1 sticks, drums, triangles, Education andnails, coconut shells, Health 2.Illagan,bamboo, empty boxes, etc.

Amelia M. et.al,

2013 pp.32-33SECOND QUARTERII. MELODY demonstrates basic responds accurately to

high1. identifies the pitch of a

tonePilot School MTB-

understanding of pitch and

and low tones through body

as high or low MLE

1. Pitch simple melodic patterns movements, singing, and Music, Arts, Physical2. Simple Melodic playing other sources of MU1ME-IIa-1 Education andPatterns sounds Health 2.Illagan,

Amelia M. et.al,2013 pp.43-45

2. matches the correct pitch of

Pilot School MTB-

tones with other sound MLEsources Music, Arts, Physical

MU1ME-IIb-2 Education andHealth 2.Illagan,Amelia M. et.al,2013 pp.47-50

3. sings simple melodic patterns

Pilot School MTB-

3.1 ( so –mi, mi –so, mi – re- MU1ME-IIb-3 MLEdo)

4. matches the melody of a Pilot School MTB-

song with the correct pitch MU1ME-IIc-4 MLEvocally Music, Arts, Physical





STANDARDS MATERIALSII. MELODY demonstrates basic responds accurately to

high4.1 greeting songs Education and


and low tones through body

4.2 counting songs Health 2.Illagan,

1. Pitch simple melodic patterns movements, singing, and 4.3 action songs Amelia M. et.al,1. Simple Melodic playing other sources of 2013 pp.52-55

5. sings in pitch Pilot School MTB-Patterns sounds 5.1 rote singing MLE5.2 greeting songs Music, Arts, Physical5.3 counting songs MU1ME-IIc-5 Education and5.4 echo singing Health 2.Illagan,


III. FORM demonstrates basic responds with precision to 6. identifies with body Pilot School MTB-understanding of the changes in musical lines movements the MLE

1. Musical Lines concepts of musical lines,

with body movements 6.1 beginnings MU1FO-IId-1

2. Beginnings and beginnings and endings in

6.2 endings

Endings in Music music, and repeats in music

6.3 repeats of a recorded

3. Repeats in Music music example7. identifies similar or

dissimilarPilot School MTB-

musical lines with the use of:

MLE

7.1 body movements Music, Arts, Physical7.2 geometric shapes or MU1FO-IIe-2 Education andobjects Health 2.Illagan,


8. relates basic concepts of Pilot School MTB-musical forms to geometric

MLE

shapes to indicate Music, Arts, Physicalunderstanding of: MU1FO-IIf-3 Education and8.1 same patterns Health 2.Illagan,8.2 different patterns Amelia M. et.al,

2013 pp.72-769. chooses the exact MU1FO-IIg-h-4 Pilot School MTB-

geometricshapes that correspond to MLEmusical form


Learning Materials are uploaded at http://lrmds.deped.gov.ph/.




STANDARDS MATERIALSTHIRD QUARTERIV. TIMBRE demonstrates distinguishes accurately

the1. identifies the source of Pilot School MTB-

understanding of the basic

different sources of sounds

sounds MLE

1. Quality of Sound in concepts of timbre heard and be able to 1.1 wind, wave, swaying of the


Music produce a variety of timbres

trees, animal sounds, MU1TB-IIIa-1 Education and2. Distinction Between sounds produced by Health 2.Illagan,Speaking and

Singingmachines, transportation, Amelia M. et.al,

through body movements

2013 pp.97-102

2. responds appropriately to MU1TB-IIIa-2 Pilot School MTB-differences in sounds heard

MLE

through body movement3. replicates the sounds

heardPilot School MTB-

from different sources MLEMU1TB-IIIb-3 Music, Arts,

PhysicalEducation and

Health 2.Illagan,Amelia M. et.al,

2013 pp.103-1064. uses voice and other MU1TB-IIIb-4 Pilot School MTB-

sources of sound to produce

MLE

a variety of timbresV. DYNAMICS demonstrates creatively interprets with 5. demonstrates dynamic MU1DY-IIIc-1 Pilot School MTB-


body movements the changes with movements MLE

1. Volume of Sound in concepts of dynamics dynamic levels to enhance

6. uses the terms loud and soft

MU1DY-IIIc-2 Pilot School MTB-

Music poetry, chants, drama, and

to identify volume changes

MLE

2. Distinction Between musical stories 7. relates the concepts of Pilot School MTB-Loudness and dynamics to the

movementsMLE

Softness in Music of animals Music, Arts, Physical7.1 elephant walk – loud MU1DY-IIId-3

Education and7.2 tiny steps of a mouse – Health 2.Illagan,soft Amelia M. et.al,2013 pp.132-134

8. interprets with body Pilot School MTB-movements the dynamics of

MU1DY-IIIe-f-4 MLE

a song Music, Arts, Physical





STANDARDS MATERIALSV. DYNAMICS demonstrates creatively interprets with 8.1 small movement – soft Education and


body movements the 8.2 big movement –loud Health 2.Illagan,

1. Volume of Sound in concepts of dynamics dynamic levels to enhance

Amelia M. et.al,

Music poetry, chants, drama, and

2013 pp.132-1349. applies the concepts of Pilot School MTB-

2. Distinction Between musical stories dynamic levels to enhance MLELoudness and Softness in poetry, chants, drama,

andMU1DY-IIIg-h-

Musicmusical stories 5

9.1 small movement – soft9.2 big movement – loud

FOURTH QUARTERVI. TEMPO demonstrates performs with accuracy 1. mimics animal movements Pilot School MTB-


varied tempi through 1.1 horse – fast MLE

1. Speed of Sound In concepts of tempo movements or dance steps

1.2 carabao – slow MU1TP-IVa-1 Music, Arts, Physical

Music to enhance poetry, chants,

Education andHealth 2.Illagan,

2. Distinction Between drama, and musical stories Amelia M. et.al,

Fastness and Slowness 2013 pp.143-145

in Music 2. demonstrates the basic Pilot School MTB-concepts of tempo through

MLE

movements MU1TP-IVa-2 Music, Arts, Physical

Education andHealth 2.Illagan,Amelia M. et.al,

2013 pp.137-1403. responds to varied tempo Pilot School MTB-

with movements or dance MLEsteps Music, Arts, Physical

3.1 slow movement with slow

MU1TP-IVb-3 Education andmusic

Health 2.Illagan,3.2 fast movement with fast Amelia M. et.al,

music 2013 pp.137-1404. relates tempo changes to MU1TP-IVb-4 Pilot School MTB-

movements MLE5. uses varied tempo to Pilot School MTB-

enhance poetry, chants, MU1TP-IVc-5 MLEdrama, and musical stories





STANDARDS MATERIALSVII. TEXTURE demonstrates sings songs to involve 6. identify sounds alone,

soundsMU1TX-IVd-1 Pilot School MTB-


oneself and experience the

together MLE

1. Distinction Between concepts of texture concept of texture 7. demonstrates awareness of

Pilot School MTB-

Thinness and texture by using visual MLEThickness in Music images Music, Arts, Physical

2. Single Melodic Line or

MU1TX-IVe-2 Education andSimultaneous Health 2.Illagan,Occurrence of Multiple Amelia M. et.al,

Melodic Lines 2013 pp.154-1598. distinguishes accurately Pilot School MTB-

between single musical line

MLE

and multiple musical lines Music, Arts, Physicalwhich occur simultaneously

MU1TX-IVf-3 Education andin a given song Health 2.Illagan,


9. demonstrates the concept of

Pilot School MTB-

texture by singing two-part MLEround MU1TX-IVg-h-4 Music, Arts, Physical

9.1 Are You Sleeping, Brother Education and

John? Health 2.Illagan,9.2 Row, Row, Row Your Boat Amelia M. et.al,

2013 pp.160-162




ELEMENTS OF MUSIC



FIRST QUARTERI. RHYTHM demonstrates basic responds appropriately to 1. distinguishes aurally and Pilot School MTB-

understanding of sound, the pulse of sounds heard visually between sound and MLE1. Distinction Between silence and rhythmic and performs with

accuracysilence Music, Arts,

PhysicalSound and Silence patterns and develops the rhythmic patterns in MU2RH-Ia-1 Education and2. Steady Beats musical awareness while expressing oneself Health 2.Illagan,3. Simple Rhythmic performing the Amelia M. et.al,Patterns fundamental processes

in2013 pp.3-8

4. Ostinato music 2. relates visual images to Pilot School MTB-sound and silence within a MLErhythmic pattern Music, Arts,

PhysicalMU2RH-Ib-2Education and


2013 pp.3-83. replicates a simple series of Pilot School MTB-

rhythmic sounds (i.e. echo MLEclapping) Music, Arts,

PhysicalMU2RH-Ib-3Education and

Health 2.Illagan,Amelia M. et.al,2013 pp.21-24

4. maintains a steady beat when

Pilot School MTB-

chanting, walking, tapping, MU2RH-Ic-4 MLEclapping, and playing musicalinstruments

5. claps the written stick Pilot School MTB-notation to show steady beats

MLE

5.1 divides the stick notations

MU2RH-Ic-5 Music, Arts, Physical

into measures of 2s, 3s and

Education and

4s to show rhythmic Health 2.Illagan,patterns Amelia M. et.al,K to 12 Music Curriculum Guide May 2016 Page 15of 94





STANDARDS MATERIALSI. RHYTHM demonstrates basic responds appropriately to 2013 pp.25-31

understanding of sound, the pulse of sounds heard 6. creates simple ostinato Pilot School MTB-1. Distinction Between silence and rhythmic and performs with

accuracypatterns in measures of 2s, MLE

Sound and Silence patterns and develops the rhythmic patterns in 3s, and 4s with body Music, Arts, Physical2. Steady Beats musical awareness while expressing oneself movements MU2RH-Id-e-6 Education and3. Simple Rhythmic performing the Health 2.Illagan,Patterns fundamental processes

in Amelia M. et.al,

4. Ostinato music 2013 pp.25-317. writes stick notation on the Pilot School MTB-

board to represent the sound

MLE

heard Music, Arts, PhysicalMU2RH-If-g-7 Education and


2013 pp.22Pilot School MTB-

8. plays simple ostinato patterns

MLE

on classroom instruments Music, Arts, Physical8.1 sticks, drums, triangles, MU2RH-Ih-8 Education and

nails, coconut shells, Health 2.Illagan,bamboo, empty boxes, etc.

Amelia M. et.al,

2013 pp.32-33

SECOND QUARTERII. MELODY demonstrates basic performs with accuracy of 1. identifies the pitch of tones

asPilot School MTB-


pitch, the simple melodic 1.1 high MLE

1. Pitch simple melodic patterns patterns through body 1.2 low Music, Arts, Physical2. Simple Melodic movements, singing or 1.3 higher MU2ME-IIa-1 Education andPatterns playing musical

instruments1.4 lower Health 2.Illagan,


2. responds to ranges of pitch Pilot School MTB-

through body movements, MU2ME-IIa-2 MLEsinging, and playing sources


of sounds Education andK to 12 Music Curriculum Guide May 2016 Page 16of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.




STANDARDS MATERIALSII. MELODY demonstrates basic performs with accuracy of Health 2.Illagan,


pitch, the simple melodic Amelia M. et.al,

1. Pitch simple melodic patterns patterns through body 2013 pp.43-443. demonstrates high and low Pilot School MTB-2. Simple Melodic movements, singing or pitches through singing or MLEPatterns playing musical

instruments playing musical instruments Music, Arts, Physical

MU2ME-IIb-3 Education andHealth 2.Illagan,Amelia M. et.al,

2013 pp.42 -45, 47-50

4. sings the following songs with

Pilot School MTB-

accurate pitch: MLE4.1 wrote songs Music, Arts, Physical4.2 echo songs MU2ME-IIb-4 Education and4.3 simple children’s melodies Health 2.Illagan,


5. echoes simple melodic Pilot School MTB-patterns through singing or MLEhumming Music, Arts, Physical

MU2ME-IIc-5 Education andHealth 2.Illagan,Amelia M. et.al,2013 pp.54-55

6. demonstrates the melodic Pilot School MTB-contour with movement MLE

MU2ME-IIc-6 Music, Arts, Physical

Education andHealth 2.Illagan,Amelia M. et.al,2013 pp.57-58

7. demonstrates the melodic Pilot School MTB-contour through MU2ME-IIc-7 MLE

1.7 body staff

Music, Arts, Physical1.8 writing the melodic line “on





STANDARDS MATERIALSII. MELODY demonstrates basic performs with accuracy of the air” Education and


pitch, the simple melodic 1.9 line notation Health 2.Illagan,

1. Pitch simple melodic patterns patterns through body Amelia M. et.al,2. Simple Melodic movements, singing or 2013 pp.58-62

8. relates visual imagery to Pilot School MTB-Patterns playing musical instruments melodic patterns MLE

MU2ME-IIc-8 Music, Arts, Physical

Education andHealth 2.Illagan,Amelia M. et.al,2013 pp.63-65

III. FORM demonstrates performs a song, chosen 9. identifies the beginning and Pilot School MTB-understanding of the basic

from among the previously

ending of a song MLE

1. Musical Lines concepts of musical form learned songs that shows Music, Arts, Physical2. Beginnings and the basic concepts of MU2FO-IId-1 Education andEndings in Music musical lines, beginnings, Health 2.Illagan,3. Repeats in Music endings and repeats Amelia M. et.al,through body movement, 2013 pp.78-82

vocal sounds, and 10.

demonstrates the beginning

Pilot School MTB-

instrumental sounds and ending of a song with MLE10.1 movements Music, Arts, Physical10.2 vocal sounds MU2FO-IId-2 Education and10.3 instrumental sounds Health 2. Illagan,


11. identifies musical lines as Pilot School MTB-11.1 similar MLE11.2 dissimilar with Music, Arts, Physical

movements and with the

MU2FO-IIe-3 Education anduse geometric shapes or Health 2. Illagan,objects Amelia M. et.al,

2013 pp.72-7612. demonstrates repeated Pilot School MTB-

musical lines with MU2FO-IIe-4 MLE

movementsMusic, Arts, Physical






STANDARDS MATERIALSEducation and

Health 2. Illagan,Amelia M. et.al,2013 pp.84-88

13. recognizes repetitions within a

MU2FO-IIf-5 Pilot School MTB-

song MLE14. creates melodic

introductionMU2FO-IIg-h-6 Pilot School MTB-

and ending of songs MLE15. creates rhythmic

introductionMU2FO-IIg-h-7 Pilot School MTB-

and ending of songs MLETHIRD QUARTERIV. TIMBRE demonstrates determines accurately

the1. identifies the source of Pilot School MTB-


sources of sounds heard, sounds e.g. winds, waves MLE

1. Quality of Sound in concepts of timbre and produce sounds using swaying of the trees, animals


Music voice, body, and objects, sounds, sounds produced by

MU2TB-IIIa-1 Education and2. Introduction to Voice and be able to sing in machines, transportation,

etc. Health 2. Illagan,Production accurate pitch Amelia M. et.al,3. Differentiation in 2013 pp.97-102Sound Quality 2. replicates different sources

ofPilot School MTB-

4. Introduction to sounds with body movements

MLE

Musical Instruments Music, Arts, PhysicalMU2TB-IIIa-2

Education andHealth 2. Illagan,Amelia M. et.al,

2013 pp.103-1063. identifies the common

musicalPilot School MTB-

instruments by their sounds

MLE

and image Music, Arts, Physical

MU2TB-IIIb-3 Education andHealth 2. Illagan,Amelia M. et.al,

2013 pp.108-1114. recognizes the difference Pilot School MTB-

between speaking and singing

MU2TB-IIIc-4 MLE

Music, Arts, PhysicalK to 12 Music Curriculum Guide May 2016 Page 19of 94





STANDARDS MATERIALSIV. TIMBRE demonstrates determines accurately

theEducation and


sources of sounds heard, Health 2. Illagan,

1. Quality of Sound in concepts of timbre and produce sounds using Amelia M. et.al,Music voice, body, and objects, 2013 pp.112-115

5. sings songs with accurate Pilot School MTB-2. Introduction to Voice and be able to sing in pitch and pleasing vocal MLEProduction accurate pitch quality3. Differentiation in Sound

Music, Arts, PhysicalMU2TB-IIIc-5

Quality Education and4. Introduction to Musical

Health 2. Illagan,

Instruments Amelia M. et.al,2013 pp.121-122

6. produces sounds using voice,

Pilot School MTB-

body, and objects to enhance

MU2TB-IIId-6 MLE

a given storyV. DYNAMICS demonstrates creatively applies

changes7. interprets through body Pilot School MTB-


in dynamics to enhance movements the dynamics of a

MLE

1. Volume of Sound in concepts of dynamics rhymes, chants, drama, and

song Music, Arts, Physical

Music musical stories MU2DY-IIIc-1 Education and2. Distinction Between Health 2. Illagan,Loudness and Amelia M. et.al,Softness in Music 2013 pp.132-1398. distinguishes between

“loud”,Pilot School MTB-

“louder”, “soft” and “softer” in

MLE

music Music, Arts, PhysicalMU2DY-IIIc-2 Education and


2013 pp.132-1349. relates movements of Pilot School MTB-

animalsto dynamics MLEE.g. Music, Arts, Physicalelephant walking – loud MU2DY-IIIc-3 Education anddog walking – medium Health 2. Illagan,tiny steps of a mouse - soft Amelia M. et.al,

2013 pp.132-13410. uses the words loud, louder,

MU2DY-IIIc-4 Pilot School MTB-





STANDARDS MATERIALSV. DYNAMICS demonstrates creatively applies

changessoft, softer – to identify MLE


in dynamics to enhance variations in volume

1. Volume of Sound in Music

concepts of dynamics rhymes, chants, drama, and

11. replicates “loud,” “medium,”

Pilot School MTB-

2. Distinction Between musical stories and “soft” with voice or with

MLE

Loudness and Softness

instruments MU2DY- Music, Arts, Physical

in Music IIId,e,h-5 Education andHealth 2. Illagan,Amelia M. et.al,

2013 pp.130-13112. sings a given song with MU2DY-IIIf-h-6 Pilot School MTB-

appropriate dynamics MLEFOURTH QUARTERVI. TEMPO demonstrates uses varied tempito 1. mimics animal movements Pilot School MTB-


enhance rhymes, chants, 1.1 horse – fast MLE

1. Speed of Sound In concepts of tempo drama, and musical stories

1.2 carabao – moderate MU2TP-IVa-1 Music, Arts, Physical

Music 1.3 turtle – slow Education and2. Distinction Between Health 2. Illagan,Fastness and Amelia M. et.al,Slowness in Music 2013 pp.143-1452. responds to the accurate Pilot School MTB-

tempo of a song as guided by

MLE

the hand signal of the teacher


E.g. MU2TP-IVa-2 Education andThe teacher’s slow hand Health 2. Illagan,movement means “slow”, Amelia M. et.al,while fast hand movement 2013 pp.147-148means “fast”.

3. demonstrates changes in Pilot School MTB-tempo with movements MLE

MU2TP-IVa-3 Music, Arts, Physical

Education andHealth 2. Illagan,Amelia M. et.al,

2013 pp.147-1484. responds to variations in MU2TP-IVb-4 Pilot School MTB-

MLEK to 12 Music Curriculum Guide May 2016 Page 21of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.




STANDARDS MATERIALSVI. TEMPO demonstrates uses varied tempito tempo with dance steps Music, Arts, Physical


enhance rhymes, chants, 4.1 slow movement with slow

1. Speed of Sound In concepts of tempo drama, and musical stories

music Education and

Music 4.2 s music Health 2. Illagan,Amelia M. et.al,2. Distinction Between 2013 pp.137-140Fastness and

Slowness 5. distinguishes “slow,” Pilot School MTB-in Music “slower,”“fast,” and

“faster” inMLE

recorded music with voice or


with instruments MU2TP-IVb-5 Education andHealth 2. Illagan,Amelia M. et.al,

2013 pp.137-1406. uses the terms “fast,” Pilot School MTB-

“faster,” “slow,” and “slower”

MLE

to identify variations in tempo


MU2TP-IVb-6 Education andHealth 2. Illagan,Amelia M. et.al,

2013 pp.1457. replicates “slow,” Pilot School MTB-

“slower,”“fast,” and “faster”

MLE

with voice or with Music, Arts, Physicalinstruments MU2TP-IVc-7 Education and

Health 2. Illagan,Amelia M. et.al,

2013 pp.137-140VII. TEXTURE demonstrates distinguishes accurately 8. identifies musical texture

withPilot School MTB-



recorded music MLE

1. Single Melodic Line concepts of texture and multiple musical lines E.g. Music, Arts, Physical

orSimultaneous which occur

simultaneously8.1 melody with single Education and

Occurrence of Multiple

in a given song instrument or voice MU2TX-IVd-f-1 Health 2. Illagan,Melodic Lines 8.2 single melody with Amelia M. et.al,2. Distinction Between accompaniment 2013 pp.151-152Thinness and 8.3 two or more melodies

sungThickness in Music or played together at the






STANDARDS MATERIALSVII. TEXTURE demonstrates distinguishes accurately same time



9. shows awareness of texture Pilot School MTB-

1. Single Melodic Line or

concepts of texture and multiple musical lines by relating visual images to MLE

Simultaneous which occur simultaneously

recorded or performed music



in a given song MU2TX-IVd-f-2 Education andMelodic Lines Health 2. Illagan,2. Distinction Between Amelia M. et.al,Thinness and 2013 pp.154-159Thickness in Music 10. distinguishes between

singlePilot School MTB-

musical line and multiple MLEmusical lines which occur Music, Arts, Physicalsimultaneously MU2TX-IVd-f-3 Education and

Health 2. Illagan,Amelia M. et.al,

2013 pp.156-16111. distinguishes between Pilot School MTB-

thinness and thickness of MLEmusical sound in recorded or


performed music MU2TX-IVg-h-4 Education andHealth 2. Illagan,Amelia M. et.al,

2013 pp.160-162




ELEMENTS OF MUSIC



FIRST QUARTERI. RHYTHM demonstrates 1. performs simple 1. relates images with sound Pilot School MTB-


ostinato patterns/simple

and silence within a rhythmic

MLE

1. Sound and Silence concepts of rhythm rhythmic pattern *Tunog, Tinig,2. Steady Beats accompaniments on Tugtog at

Likhang3. Simple Rhythmic classroom instruments MU3RH-Ia-1 Sining 3. Nera, FePattern and other sound C. et al, 2000

pp.1-4. Ostinato sources to a given song 4

2. sings songs with correct *Musika at Sining 3.

rhythm Sunico, Raul M. et

al, 2000 pp.3-82. maintains a steady beat when

Pilot School MTB-

chanting, walking, tapping, MU3RH-Ib-h-2 MLEclapping, and playing musicalinstruments

3. claps, taps, chants, walks, Pilot School MTB-and plays musical instruments

MLE

in response to sound with thecorrect rhythm

3.1 in measures of 2s, 3s, and

MU3RH-Ia-c-3

4s3.2 echo clapping3.3 marching3.4 dancing the waltz

4. claps the written stick Pilot School MTB-notation on the board MU3RH-Id-4 MLE

representing the sound heard

5. plays simple ostinato patterns

Pilot School MTB-

with classroom instruments MU3RH-Id-h-5 MLEand other sound sources





STANDARDS MATERIALSI. RHYTHM demonstrates 1. performs simple 6. creates simple ostinato Pilot School MTB-


ostinato patterns/simple

patterns in measures of 2s, MLE

1. Sound and Silence concepts of rhythm rhythmic 3s, and 4s through body2. Steady Beats accompaniments on movements *Tunog, Tinig,3. Simple Rhythmic classroom

instrumentsTugtog at Likhang

Pattern and other sound Sining 3. Nera, Fe4. Ostinato sources to a given

songC. et al, 2000 pp.6-

142. sings songs with MU3RH-Ie-6 *Musika at Sining 3.

correct rhythm Sunico, Raul M. etal, 2000 pp.14-25

*Umawit at

Gumuhit 3.Valdecantos,

Emelita C. 1997.pp.12-26

7. creates ostinato patterns in Pilot School MTB-different meters using MLEcombination of different MU3RH-If-7 *Musika at Sining 3.sound sources Sunico, Raul M. et

al, 2000 pp.14-25SECOND QUARTERII. MELODY demonstrates sings the melody of a

song1. identifies the pitch of a tone

Pilot School MTB-


with accurate pitch as: MLE

1. Pitch concepts of melody 1.1 high – higher *Tunog, Tinig,2. Melodic Lines 1.2 moderately high – higher Tugtog at Likhang3. Melodic Patterns 1.3 moderately low – lower Sining 3. Nera, FeandContour 1.4 low – lower C. et al, 2000MU3ME-IIa-1 pp.28-34

*Musika at Sining 3.

Sunico, Raul M. etal, 2000 pp.52-56

*Umawit at

Gumuhit 3.K to 12 Music Curriculum Guide May 2016 Page 25of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.




STANDARDS MATERIALSII. MELODY demonstrates sings the melody of a

songValdecantos,


with accurate pitch Emelita C. 1997.

1. Pitch concepts of melody pp.33-372. matches the correct pitch

ofPilot School MTB-2. Melodic Lines

tones MLE3. Melodic Patterns2.1 with the voiceandContour *Tunog, Tinig,2.2 with an instrument Tugtog at Likhang

MU3ME-IIa-2 Sining 3. Nera, FeC. et al, 2000

pp.30-31*Musika at Sining 3.


3. relates movements with levels

Pilot School MTB-

of pitch MLEMU3ME-IIb-3 *Tunog, Tinig,

Tugtog at LikhangSining 3. Nera, Fe

C. et al, 2000 pp.314. matches the voice with the MU3ME-IIb-c-4 Pilot School MTB-

pitches of a melody MLE5. recreates simple patterns

andMU3ME-IIb-5 Pilot School MTB-

contour of a melody MLE6. sings entire simple songs with

Pilot School MTB-

accurate pitch MLE6.1 Favorite Children’s Songs

6.1.1 “Do – Re – Mi”6.1.2 “What Can We Do

Today” MU3ME-IIc-66.2 Folksongs

6.2.1 “Manang Biday”6.2.2 “Paruparong Bukid”

6.2.3 “Atin Cu PungSingsing”






STANDARDS MATERIALSIII. FORM demonstrates sings, plays, and

performs7. identifies the beginning, MU3FO-IId-1 Pilot School MTB-


(through body movements)

middle, and ending of a song

MLE

1. Musical Lines concepts of musical form a chosen song showing the

8. identifies musical lines as Pilot School MTB-

2. Musical Beginning, basic concepts of musical 8.1 similar MLEMiddle, and End lines, beginnings,

endings8.2 same *Tunog, Tinig,

3. Repeats in music and repeats 8.3 different through Tugtog at Likhangmovements and geometric MU3FO-IId-2 Sining 3. Nera, Feshapes or objects C. et al, 2000

pp.62-68*Musika at Sining 3.


9. recognizes repetitions within a

Pilot School MTB-

song MLE*Tunog, Tinig,

Tugtog at LikhangMU3FO-IId-3 Sining 3. Nera, Fe

C. et al, 2000pp.64-68



10. sings repetitions of musical Pilot School MTB-lines independently MLE

MU3FO-IIe-4 *Tunog, Tinig,


C. et al, 2000pp.66-68

11. plays repetitions of musical MU3FO-IIf-5 Pilot School MTB-lines MLE

12. renders a song confidently, Pilot School MTB-

giving appropriate emphasis MU3FO-IIg-h-6 MLEon the beginning and on the






STANDARDS MATERIALSending

THIRD QUARTERIV. TIMBRE demonstrates applies vocal

techniques inunderstanding of the basic

singing to produce a

1. Voice Production concepts of timbre pleasing vocal quality:Techniques 1. using head tones

2. Variation in Sound 2. employing properQuality breathing

2.1 Similar 3. using the diaphragm

2.2 Different3. Introduction to

Musical Instruments

1. recognizes differences in Pilot School MTB-

sound quality coming from a

MLE

variety of sound sources MU3TB-IIIa-1 *Musika at Sining 3.

Sunico, Raul M. etal, 2000 pp.129-134. Pp.135-140

2. responds to differences in Pilot School MTB-sound quality with appropriate

MLE

movement *Tunog, Tinig,

Tugtog at LikhangMU3TB-IIIa-2 Sining 3. Nera, Fe

C. et al, 2000pp.58-79


Sunico, Raul M. etal, 2000 pp.129-134, pp.135-140

3. recognizes musical Pilot School MTB-instruments through sound MLE

*Tunog, Tinig,


MU3TB-IIIb-3 C. et al, 2000pp.74-79


Sunico, Raul M. etal, 2000 pp.129-134, pp.135-140

4. identifies and compares the Pilot School MTB-voices of: MU3TB-IIIb-4 MLE

4.1 classmates as they sing or

*Tunog, Tinig,





STANDARDS MATERIALSIII. TIMBRE demonstrates applies vocal techniques

inspeak Tugtog at Likhang


singing to produce a 4.2 selected popular singers in

Sining 3. Nera, Fe

1. Voice Production concepts of timbre pleasing vocal quality: recordings C. et al, 2000Techniques 1. using head tones pp.72-73

2. Variation in Sound 2. employing proper *Manwal ng GuroQuality breathing Umawit at Gumuhit2.1 Similar 3. using the diaphragm 3. Valdecantos,2.2 Different Emelita C. 1997.

3. Introduction to Musical

pp.64-68

Instruments 5. compares the use of the voice

Pilot School MTB-

in speaking and in singing MLE*Tunog, Tinig,


C. et al, 2000pp.70-72

MU3TB-IIIb-5 *Musika at Sining 3.


*Manwal ng Guro

Umawit at Gumuhit3. Valdecantos,Emelita C. 1997.

pp.646. uses the voice and other *Manwal ng Guro

sources of sound to produce avariety of timbres MU3TB-IIIc-6 Umawit at Gumuhit

3. Valdecantos,Emelita C. 1997.

pp.64

IV. DYNAMICS demonstrates sings songs with proper 7. interprets the dynamics of a Pilot School MTB-understanding of the basic

dynamics following basic song through body movements

MLE

1. Volume of Sound in concepts of dynamics in conducting gestures MU3DY-IIId-1 *Tunog, Tinig,Music order to respond to 7.1 small movement – soft Tugtog at Likhang2. Conducting and conducting gestures

using7.2 big movement – loud





STANDARDS MATERIALSDynamics symbols indicating Sining 3. Nera, Fe

variances in dynamics C. et al, 2000.pp.82-86

8. distinguishes “loud,” Pilot School MTB-“medium,” and “soft” in music

MLE

MU3DY-IIId-2 *Tunog, Tinig,


C. et al, 2000.pp.82-86

9. relates dynamics to the Pilot School MTB-movements of animals MLEe.g. MU3DY-IIId-3

9.1 elephant walking – loud9.2 mice scurrying – soft

10. uses terms “loud,” “medium,”

Pilot School MTB-

and “soft” (louder, softer) to MLEidentify changes and *Manwal ng Gurovariations in volume MU3DY-IIIe-4 Umawit at Gumuhit


pp.7311. responds to conducting Pilot School MTB-

gestures of the teacher for MLE“loud” and “soft” *Umawit at

E.g. Gumuhit 3.11.1 Teacher’s palm down MU3DY-IIIe-h- Valdecantos,means “soft” and palm up

5 Emelita C. 1997.

means “loud.” pp.73-7511.2 Hands moving farther from

each other mean soundbecomes louder.

12. uses varied dynamics to Pilot School MTB-enhance poetry, chants, MU3DY-IIIf-h- MLEdrama, songs and musical 6

storiesK to 12 Music Curriculum Guide May 2016 Page 30of 94





STANDARDS MATERIALSFOURTH QUARTERV. TEMPO demonstrates enhances performance of 1. mimics animal movements Pilot School MTB-

understanding of the poetry, chants, drama, according to speed MLE1. Speed of Sound in concepts of tempo in

ordermusical stories, and songs

1.1 horse – fast

Music to respond to conducting by using a variety of tempo

1.2 carabao – slow MU3TP-IVa-1

1.1 Fast symbols indicating 1.3 turtle – slow1.2 Slow variations in tempo 1.4 rabbit - fast

2. Conducting and Tempo

1.5 dog – fast

2. sings songs with proper Pilot School MTB-tempo following basic MLEconducting gestures *Tunog, Tinig,


MU3TP-IVa-2 C. et al, 2000pp.88-89

*Umawit at



3. relates movement to changes

Pilot School MTB-

and variations in tempo MLEMU3TP-IVb-3 *Tunog, Tinig,


C. et al, 2000pp.88-93

4. responds with movement to Pilot School MTB-tempo changes MLE

4.1 (i.e. doing locomotor and MU3TP-IVb-c-4 *Tunog, Tinig,non-locomotor movements) Tugtog at Likhangto a variety of tempo in Sining 3. Nera, Ferecorded music C. et al, 2000

pp.905. distinguishes among fast, MU3TP-IVb-5 Pilot School MTB-

moderate, and slow in music

MLE





STANDARDSPERFORMANC

ELEARNING COMPETENCY CODE LEARNING

STANDARDS MATERIALSV. TEMPO demonstrates enhances performance of *Tunog, Tinig,

understanding of the poetry, chants, drama,1. Speed of Sound in concepts of tempo in

ordermusical stories, and songs

Tugtog at Likhang

Music to respond to conducting by using a variety of tempo

Sining 3. Nera, FeC. et al, 2000

1.1 Fast symbols indicating pp.88-931.2 Slow variations in tempo 6. uses the terms: fast, Pilot School MTB-2. Conducting and Tempo moderate, and slow,

(faster,MLE

slower etc.) to identify tempo

*Tunog, Tinig,

changes and variations Tugtog at LikhangSining 3. Nera, Fe

C. et al, 2000pp.88-93

MU3TP-IVb-6 *Musika at Sining

3.Sunico, Raul M. etal, 2000. pp.111-

123*Manwal ng Guro


pp.757. sings songs with designated Pilot School MTB-

tempo MLEE.g. *Tunog, Tinig,

7.1 Lullaby – slow MU3TP-IVa-c-7 Tugtog at Likhang7.2 Joyful songs – fast Sining 3. Nera, FeC. et al, 2000

pp.88-93VI. TEXTURE demonstrates sing

s8. demonstrates the concept of

Pilot School MTB-


1. “two-part rounds” texture by singing “two-part

MLE

1. Single Melodic Line concepts of texture 2. “partner songs” rounds” MU3TX-IVd-f-1

orSimultaneous E.g.Occurrence of Multiple

8.1 “Are You Sleeping, Brother

Melodic Lines John?”K to 12 Music Curriculum Guide May 2016 Page 32of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.




STANDARDS MATERIALS2. Distinction Between 8.2“Row, Row, Row Your

Boat”Thinness and 8.3“Musika Ay Di Kukupas”Thickness in Music 9. demonstrates the concept

ofPilot School MTB-

texture by singing “partner MLEsongs

E.g.9.1 “Leron, Leron Sinta” MU3TX-IVd-f-29.2 “Pamulinawen”9.3“It’s A Small World”9.4“He’s Got the Whole World

inHis Hands

10. distinguishes between single

Pilot School MTB-

musical line and multiple MU3TX-IVd-f-3 MLEmusical lines which occursimultaneously

11. distinguishes between MU3TX-IVg-h- Pilot School MTB-thinness and thickness of MLE

4musical sound




GRADE 4ELEMENTS OF MUSIC



FIRST QUARTERI. RHYTHM demonstrates creates rhythmic

patterns1. identifies different kinds of MISOSA4-

understanding of concepts

in: notes and rests module6,7

1. Musical Symbols and pertaining to rhythm and

1. simple time signatures

Concepts: musical symbols 2. simple one-measure MISOSA5-1.1 Notes and Rests ostinato pattern module11.2 Meters MU4RH-Ia-11.3 Rhythmic Patterns *Manwal ng1.4 Simple Time Guro Umawit

Signatures at Gumuhit 4.

1.5 Ostinato Valdecantos,Emelita C.

1999. pp.7-92. organizes notes and rests MISOSA4-

according to simple meters module8(grouping notes and rests intomeasures given simple MU4RH-Ib-2 *Umawit atmeters) Gumuhit 4.

Valdecantos,Emelita C.

1999. pp.8-12

3. states the meaning of the MU4RH-Ic-3 MISOSA4-different rhythmic patterns module2,8

4. demonstrates the meaning of

MISOSA4-

rhythmic patterns by clapping

module3,4,5

in time signatures

2 3 4 MU4RH-Ic-4 *Manwal ngGuro Umawit4, 4, 4at Gumuhit

4.Valdecantos,

Emelita C.K to 12 Music Curriculum Guide May 2016

Page 34of 94




STANDARDS MATERIALS1999. pp.7

I. RHYTHM demonstrates creates rhythmic patterns


in:

1. Musical Symbols and pertaining to rhythm and

1. simple time signatures

Concepts: musical symbols 2. simple one-measure1.1 Notes and Rests ostinato pattern1.2 Meters 5. uses the bar line to indicate MISOSA4-1.3 Rhythmic Patterns groupings of beats in module3,4,51.4 Simple Time 2 3 4 MU4RH-Ic-5

Signatures 4, 4, 41.5 Ostinato

6. identifies accented and MU4RH-Id-6 MISOSA4-unaccented pulses module1

7. places the accent (>) on the MU4RH-Id-7notation of recorded music

8. responds to metric pulses of MU4RH-Ie-g-8 MISOSA4-music heard with appropriate

module3,4

con9. ducting gestures MISOSA5-

module6




STANDARDSPERFORMANCE LEARNING

COMPETENCYCODE LEARNING

STANDARDS MATERIALSSECOND QUARTERII. MELODY recognizes the musical analyzes melodic 1. identifies the pitch name of MISOSA4-

symbols and demonstrates

movement and range and

each line and space of the G-

module13

1. Musical Symbols and understanding of concepts

be able to create and clef staff

Concepts: pertaining to melody perform simple melodies F1.1 Intervals D1.2 Scales B1.3 Melodic Contours G1.4 Patterns of successive E MU4ME-IIa-1

pitches of a C Majorscale

EC

AF

2. identifies the pitch names of MISOSA4-notes on the ledger lines and

module13,14

spaces below the G-clef staff(middle C and D)

MU4ME-IIb-2

3. recognizes the meaning and

MISOSA4-

use of G- Clef module13MU4ME-IIc-3

do re mi fa so la ti do

K to 12 Music Curriculum Guide May 2016 Page 36of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to

schools.



STANDARDS MATERIALS

recognizes the musical analyzes melodic 4. identifies the movement of the

MISOSA4-

II. MELODY symbols and demonstrates

movement and range and

melody as: module10


be able to create and

1. Musical Symbols and pertaining to melody perform simple melodies - no movement MISOSA5-Concepts: module8

1.1 Intervals1.2 Scales *Manwal ng1.3 Melodic Contours Guro Umawit1.4 Patterns of

successive- ascending stepwise at Gumuhit 4.

pitches of a C Major Valdecantos,scale Emelita C.

1999. pp.28-30

- descending stepwise MU4ME-IId-4

- ascending skip wise

- descending skip wise

5. identifies the highest and MISOSA4-lowest pitch in a given module9notation of a musical piece todetermine its range MU4ME-IIe-

5*Manwal ng

Guro Umawit

at Gumuhit 4.Valdecantos,

Emelita C.K to 12 Music Curriculum Guide May 2016 Page 37of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to

schools.



STANDARDS MATERIALSII. MELODY 1999. pp.24-

recognizes the musical analyzes melodic 301. Musical Symbols and symbols and

demonstratesmovement and range and

6. sings with accurate pitch the MISOSA4-

Concepts: understanding of concepts

be able to create and simple intervals of a melody module12

1.1 Intervals pertaining to melody perform simple melodies1.2 Scales *Manwal ng1.3 Melodic Contours MU4ME-IIf-6 Guro Umawit at1.4 Patterns of successive Gumuhit 4.

pitches of a C Major Valdecantos,scale Emelita C. 1999.

pp.24-317. performs his/her own created

MISOSA4-

melody module12MU4ME-IIg-h- *Manwal ng

Guro Umawit at7 Gumuhit 4.Valdecantos,

Emelita C. 1999.pp.30

THIRD QUARTERIII. FORM demonstrates performs similar and 1. identifies aurally and

visuallyMISOSA4-

understanding of musical

contrasting musical the introduction and coda module16,17

1. Phrases in a Musical Piece

phrases, and the uses and

phrases (ending) of a musical piece

2. Structure of Musical Sound

meaning of musical terms

*Manwal ng

2.1 Antecedent (Question)

in form MU4FO-IIIa-1 Guro Umawit at

Phrase Gumuhit 4.2.2 Consequent (Answer) Valdecantos,

Phrase Emelita C. 1999.2.3 Introduction pp.38-392.4 CODA (ending)Phrase 2. identifies aurally and

visuallythe antecedent and MU4FO-IIIa-2consequent in a musical piece

3. listens to similar and MU4FO-IIIa-contrasting phrases in b-3recorded music

K to 12 Music Curriculum Guide May 2016

Page 38of 94




STANDARDS MATERIALS4. identifies similar and

contrasting phrases in vocaland instrumental music from

MU4FO-IIIc-4

the previous lessons4.1 melodic4.2 rhythmic

5. sings similar and contrastingphrases in music MU4FO-IIId-5

5.1 melodic5.2 rhythmic

IV. TIMBRE demonstrates participates actively in a 6. distinguishes vocal and MISOSA4-understanding of group performance to instrumental sounds module18

1. Variations of Sound variations of sound in demonstrate different1.1 Vocal music (lightness and vocal and instrumental *Manwal ng1.2 Instrumental heaviness) as applied to sounds MU4TB-IIIe-1 Guro Umawit at

vocal and instrumental Gumuhit 4.music Valdecantos,


7. identifies as vocal or MISOSA4-instrumental, a recording of module19the following: MU4TB-IIIe-2

7.1 solo7.2 duet7.3 trio7.4 ensemble

8. identifies aurally and visually

MISOSA4-

different instruments module19*Manwal ng

MU4TB-IIIf-3 Guro Umawit atGumuhit 4.

Valdecantos,Emelita C. 1999.

pp.45-49

K to 12 Music Curriculum Guide May Page 39of 94

2016Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to

schools.



STANDARDS MATERIALSIV. TIMBRE demonstrates participates actively in a 9. classifies the various

musicalMISOSA4-

understanding of group performance to instruments as: module191. Variations of Sound variations of sound in demonstrate different 9.1 string

1.1 Vocal music (lightness and vocal and instrumental 9.2 woodwind *Manwal ng1.2 Instrumental heaviness) as applied to sounds 9.3 brass wind MU4TB-IIIf-h- Guro Umawit

vocal and instrumental 9.4 percussion 4 at Gumuhit 4.music Valdecantos,

Emelita C.1999. pp.45-

49V. DYNAMICS recognizes the musical applies forte and piano 10. recognizes the use of the MISOSA4-


to designate loudness and

symbol p (piano) and f (forte)

module20

1. Volume of Sound in understanding of concepts

softness in a musical in a musical score

Music pertaining to volume in example *Manwal ngmusic 1. singing MU4DY-IIIf-1 Guro Umawit

2. playing instrument at Gumuhit 4.Valdecantos,

Emelita C.1999. pp.52-

5411. uses appropriate musical MISOSA4-

terminology to indicate simple

module20

dynamics11.1 forte MU4DY-IIIf-h- *Manwal ng11.2 piano Guro Umawit at2 Gumuhit 4.


pp.52-54FOURTH QUARTERVI. TEMPO demonstrates creates and performs 1. relates body movements to MISOSA4-


body movements the tempo of a musical module21

1. Speed / Flow of Music pertaining to speed/flow appropriate to a given example MU4TP-IVa-1of music tempo *Manwal ng

demonstrates creates and performs Guro Umawitunderstanding of concepts

body movements at Gumuhit 4.


Page 40of 94




STANDARDS MATERIALSpertaining to speed/flow appropriate to a given Valdecantos,of music tempo Emelita C.

1999. pp.572. uses appropriate musical MISOSA4-

terminology to indicate module21variations in tempo

2.1 largo *Manwal ng2.2 presto MU4TP-IVb-2 Guro Umawit at


Emelita C. 1999.pp.56

VII. TEXTURE demonstrates sings two-part rounds 3. identifies aurally the texture of

MU4TX-IVc-1


and partner songs with a music example

1. Simultaneous pertaining to texture in others 4. identifies aurally and visually


music an ostinato or descant in a

MU4TX-IVd-2

Melodic Lines musical example2. Distinction Between 5. recognizes aurally and

visually,*Manwal ng

Thinness and Thickness

examples of 2-part vocal or Guro Umawit at

in Music instrumental music MU4TX-IVe-3 Gumuhit 4.Valdecantos,


VIII. HARMONY demonstrates performs examples of 6. identifies harmonic interval (2

*Manwal ng

understanding of harmonic interval with pitches) in a musical example

Guro Umawit at

1. Simultaneous harmonic intervals others MU4HA-IVf-1 Gumuhit 4.Sounding of Two Valdecantos,Tones / Pitches Emelita C. 1999.

pp.59-637. recognizes aurally and

visually,*Manwal ng

examples of harmonic Guro Umawit atintervals Gumuhit 4.

MU4HA-IVg-2 Valdecantos,Emelita C. 1999.

pp.59-63


Page 41of 94


K to 12 BASIC EDUCATION CURRICULUMCONTEN

TCONTENT STANDARDS

PERFORMANCE LEARNING COMPETENCY

CODE LEARNINGSTANDARDS MATERIALS

8. creates examples of harmonic

*Manwal ng

interval (2 pitches) with others

Guro Umawit at

MU4HA-IVh-3 Gumuhit 4.Valdecantos,


GRADE 5

ELEMENTS OF MUSIC



FIRST QUARTERI. RHYTHM recognizes the musical performs with a 1. identifies visually and MISOSA5-


conductor, a speech aurally the kinds of notes

module1,2

Musical Symbols and understanding of concepts

chorus in simple time and rests in a song MU5RH-Ia-b-1

Concepts pertaining to rhythm signatures *Musika at Sining 5.1. Notes and Rests 1. choral Sunico, Raul M.

et2. Meters 2. instrumental al, 2000. pp.83. Rhythmic Patterns 2. recognizes rhythmic MISOSA5-4. Simple Time patterns using quarter module7,2

Signatures note, half note, dotted half

MU5RH-Ia-b-2

note, dotted quarter note,and eighth note in simpletime signatures

3. identifies accurately the MISOSA5-duration of notes and rests

module3,4,5

in 2 3 4 MU5RH-Ic-e-3 *Musika at Sining 5.4, 4, 4

Sunico, Raul M. et

time signatures al, 2000. pp.8-10



K to 12 BASIC EDUCATION CURRICULUMCONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNING

STANDARDS MATERIALS4. creates different rhythmic MISOSA5-

module7patterns using notes andrests in time signatures as: MISOSA4-

module82 3 4 *Musika at Sining 5.4, 4, 4 Sunico, Raul M. et

MU5RH-If-g-4 al, 2000. pp.8-10*Manwal ng Guro


pp.4-9I. RHYTHM recognizes the musical performs with a 5. responds to metric

pulsesMU5RH-Ih-5 MISOSA5-


conductor, a speech of music heard with module6,7


chorus in simple time appropriate conducting

Concepts pertaining to rhythm signatures gestures *Musika at Sining 5.3. Notes and Rests 1. choral Sunico, Raul M. et4. Meters 2. instrumental al, 2000. pp.4-65. Rhythmic

Patterns6. Simple Time *Manwal ng Guro

Signatures Umawit at Gumuhit3. Valdecantos,Emelita C. 1999.

pp.4-6

SECOND QUARTERII. MELODY recognizes the musical accurate performance 1. recognizes the meaning


of songs following the and uses of

Musical Symbols and understanding of musical symbols F-Clef on the staff MU5ME-IIa-1

conceptsConcepts pertaining to melody pertaining to melody

1. Accidentals indicated in the piece2. F-Clef




STANDARDS MATERIALS3. Intervals 2. identifies the pitch

names4. Scales

(Pentatonic,of each line and space on

C major, G major) the F-Clef staff

5. Melodic ContoursMU5ME-IIa-2

II. MELODY recognizes the musical accurate performance G A B C D E F G A


of songs following the sol la ti do re mi fa sol la

Musical Symbols and understanding of concepts musical symbols 3. identifies the symbols: MISOSA4-module15Concepts pertaining to melody pertaining to melody sharp (# ), flat (♭), and

1. Accidentals indicated in the piece natural (♮) MU5ME-IIb-3 *Musika at Sining 5.2. F-Clef Sunico, Raul M. et al,3. IntervalsScales 2000. pp.21-254. Scales (Pentatonic, C 4. recognizes aurally and MISOSA5-module10

major, G major) visually, examples of5. Melodic Contours melodic

interval*Manwal ng Guro

MU5ME-IIc-4 Umawit at Gumuhit5. Valdecantos,Emelita C. 1999.

pp.18-195. identifies the notes of the MISOSA5-modules

intervals in the C major 9,10,11,12scale

prime *Manwal ng GuroUmawit at Gumuhit

5. Valdecantos,MU5ME-IIc-5 Emelita C. 1999.

2nd pp.18




STANDARDS MATERIALS3rd

4th

III. MELODY recognizes the musical accurate performancesymbols and demonstrates

of songs following the


musical symbols

Concepts pertaining to melody pertaining to melody1. Accidentals indicated in the piece2. F-Clef 5t

h3. Intervals4. Scales

(Pentatonic,C major, G major)

5. Melodic Contoursoctave

6. identifies successive MU5ME-IId-6sounding of two pitches

7. identifies the beginningmelodic contour of a MU5ME-IId-7musical example

8. determines the range of amusical example

8.1 wide8.2 narrow MU5ME-IIe-8





STANDARDS MATERIALS

9. reads / sings notes in MISOSA4-modulesdifferent scales 12,14,15

- Pentatonic scaleMISOSA5-module6*Manwal ng Guro

Umawit at Gumuhit- C major scale 5. Valdecantos,

III.MELODY recognizes the musical accurate performance MU5ME-IIf-9 Emelita C. 1999.symbols and demonstrates

of songs following the pp.23-31


musical symbols

Concepts pertaining to melody pertaining to melody1. Accidentals indicated in the piece - G major scale2. F-Clef3. Intervals4. Scales

(Pentatonic, C major, G major)

5. Melodic Contours*Manwal ng Guro

Umawit at Gumuhit10. creates simple melodies MU5ME-IIg-10 5. Valdecantos,


*Manwal ng Guro11. performs his/her own MU5ME-IIh- Umawit at Gumuhit

5. Valdecantos,created melody 11 Emelita C. 1999.pp.30-33

THIRD QUARTERIV. FORM demonstrates

understandingperforms the created 1. recognizes the design or

of the uses and meaning of

song with appropriate structure of simple musical

Structure of Musical musical terms in Form musicality forms:Sound 1.1 unitary(one section) MU5FO-IIIa-1

1. Strophic 1.2 strophic(same tune

with 22. Unitary or more sections and 2

ormore verses)


schools.


STANDARDS MATERIALS2. creates a 4- line unitary MU5FO-IIIb-2

song3. creates a 4 –line strophic MU5FO-IIIc-

song with 2 sections and 2

d-3

versesV. TIMBRE demonstrates

understandingparticipates in a group

4. describes the *Musika at Sining 5.

of variations of sound performance to characteristics of each type

Sunico, Raul M. et al,

Vocal and Instrumental density in music (lightness demonstrate different of voice 2000. pp.44-46Sounds and heaviness) as applied

tovocal and instrumental

vocal and instrumental music

sounds MU5TB-IIIe-1 *Manwal ng Guro


pp.44-455. identifies the following MISOSA4-

vocal timbres: module185.1 soprano5.2 alto *Musika at Sining5.3 tenor 5. Sunico, Raul M.5.4 bass et al, 2000. pp.44-

46MU5TB-IIIe-2 *Manwal ng Guro

Umawit atGumuhit 5.


pp.44-45

6. identifies aurally and *Musika at Sining 5.visually different Sunico, Raul M. et al,instruments in: 2000. pp.47-50

6.1 rondalla MU5TB-IIIf-36.2 drum and lyre band *Manwal ng Guro

6.3 bamboo group/ensemble

Umawit at Gumuhit

(Pangkat Kawayan) 5. Valdecantos,K to 12 Music Curriculum Guide May 2016 Page 47of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to

schools.


STANDARDS MATERIALS6.4 other local indigenous Emelita C. 1999.

ensembles pp.46-477. participates actively in

musical ensemble MU5TB-IIIg-47.1 choralV. TIMBRE demonstrates

understandingparticipates in a group 7.2 instrumental

of variations of sound performance to 8. creates a variety of sounds

MU5TB-IIIg-

Vocal and Instrumental density in music (lightness demonstrate different emanating from the h-5Sounds and heaviness) as applied to

vocal and instrumental

environment using

vocal and instrumental music

sounds available sound sources

FOURTH QUARTERVI. DYNAMICS demonstrates

understandingapplies dynamics to 1. identifies the different *Manwal ng Guro

of concepts pertaining to musical selections dynamic levels used in a MU5DY-IVa-b- Umawit at GumuhitVariations of Volume in volume in music song heard 1 5. Valdecantos,Musical Sound Emelita C. 1999.

pp.49-502. uses appropriate

musicalMISOSA4-module20

terminology to indicatevariations in dynamics, *Musika at Siningspecifically: 5. Sunico, Raul M.2.1 piano (p) et al, 2000. pp.54-2.2 mezzo piano (mp) MU5DY-IVa-b- 552.3 forte(f)

22.4 mezzo forte (mf)2.5 crescendo2.6 decrescendo

VII. TEMPO recognizes the musical applies appropriately, 3. identifies the various MISOSA4-module21symbols and various tempo to tempo used in a song

demonstrates vocalVariations of Speed in understanding of concepts and instrumental heard MU5TP-IVc-1 *Musika at Sining 5.Musical Sound pertaining to speed in

musicperformances Sunico, Raul M. et al,

recognizes the musical applies appropriately, 2000. pp.62K to 12 Music Curriculum Guide May 2016 Page 48of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to

schools.


STANDARDS MATERIALSVII. TEMPO symbols and

demonstratesvarious tempo to vocal

understanding of concepts and instrumental *Manwal ng Guropertaining to speed in music

performances Umawit at Gumuhit

Variations of Speed in 5. Valdecantos,Musical Sound Emelita C. 1999.

pp.54-564. uses appropriate

musical*Musika at Sining 5.

terminology to indicate Sunico, Raul M. et al,variations in tempo: 2000. pp.624.1 largo4.2 presto MU5TP-IVc-d-4.3 allegro 2 *Manwal ng Guro4.4 moderato Umawit at4.5 andante Gumuhit 5.4.6 vivace Valdecantos,4.7 ritardando Emelita C. 1999.4.8 accelerando pp.54-58

VIII. TEXTURE demonstrates understanding

recognizes examples of

5. identifies aurally the *Musika at Sining 5.

of concepts pertaining to horizontal 3-part vocal

texture of a musical piece


Densities of Musical Sound

texture in music or instrumental texture,

2000. pp.65

aurally and visuallyMU5TX-IVe-1 *Manwal ng Guro

Umawit atGumuhit 5.


pp.60-616. performs 3-part rounds *Musika at Sining 5.

and partner songs Sunico, Raul M. et al,2000. pp.68

MU5TX-IVe-2 *Manwal ng Guro

Umawit at Gumuhit


pp.59K to 12 Music Curriculum Guide May 2016 Page 49of 94




STANDARDS MATERIALS

VIII. HARMONY recognizes the musical performs a vocal or 7. identifies the intervals of *Musika at Sining 5.symbols and demonstrates

instrumental ensemble the following major triads:


Introduction to Major Triad

understanding of harmonic

using the following 2000. pp.71-74

intervals major triads( I, IV, V ) 7.1 tonic (I)*Manwal ng Guro


pp.64-697.2 subdominant (IV)

MU5HA-IVf-g-

1

7.3 dominant(V)

8. uses the major triad as *Musika at Sining 5.accompaniment to simple

MU5HA-IVh-2 Sunico, Raul M. et al,

songs 2000. pp.71




ELEMENTS OF MUSIC

CONTENT CONTENT STANDARDS PERFORMANCE LEARNING COMPETENCY CODE LEARNINGSTANDARDS MATERIALS

FIRST QUARTERI. RHYTHM demonstrates

understandingresponds to beats in 1. identifies the notes /

restsMISOSA4-

of the concept of rhythm by

music heard with

used in a particular song

Module6

Musical Symbols and applying notes and rests, appropriate 2 3 4Concepts: rhythmic patterns, and

timeconducting patterns of

4, 4, 4 MISOSA5-

1. Notes and Rests signatures and 2 3 4 6 module12. Meters 4, 4, 4 83. Rhythmic Patterns *Musika at

Sining4. Time Signatures 6. Sunico, Raul5. Conducting MU6RH-Ia-1 M. et al, 2000.

pp.8-10*Umawit at


Emelita C. 1999.

pp.5-16, pp.25-26

2. differentiates among MISOSA5-6 module6

and 8 time signatures*Musika at

Sining6. Sunico, RaulM. et al, 2000.

MU6RH-Ib-e-2 pp.8-10*Umawit atGumuhit 6.Valdecantos,Emelita C.

1999.pp.5-20K to 12 Music Curriculum Guide May 2016

Page 51of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.*These materials are in textbooks that have been delivered to schools.K to 12 BASIC EDUCATION CURRICULUM

incomplete measure5. creates rhythmic patterns inMISOSA5-2 3 4 and 6module3 F4, 4, 48Mayor, module4time signaturesG Mayor,STANDARDSMATERIALSI.RHYTHMdemonstrates understandingresponds to beats

in3.demonstrates the conductingMISOSA5-of the concept of rhythm bymusic heard withgestures of2 3 4module6Musical Symbols andapplying notes and rests,appropriate4, 4, 4


PERFORMANCE

LEARNING COMPETENCY

CODELEARNINGConcepts:rhythmic patterns, and timeconducting patterns ofand 6 time signaturesMISOSA6-1. Notes and Restssignaturesand 2 3 468module7 Ritmo2-2. Meters4, 4, 482, module 83. Rhythmic PatternsRitmo 2-4, 3-4,4. Time Signatures4-45. ConductingMU6RH-Ib-e-3*Musika at Sining6. Sunico, RaulM. et al, 2000.pp.8-10*Umawit atGumuhit 6.Valdecantos,Emelita C. 1999.pp.5-204.identifies through conductingthe relationship of the firstMU6RH-If-4and lastmeasure in anmodule5 tonongLaMU6RH-Ig-h-5*Umawit atGumuhit 6.Valdecantos,Emelita C. 1999.pp.5-20K to 12 Music Curriculum Guide May 2016Page 52of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.*These materials are in textbooks that have been delivered to schools.

K to 12 BASIC EDUCATION CURRICULUMPERFORMANCEL

EARNING COMPETENCYCODELEARNINGSTANDARDSMATE

RIALSSECOND QUARTERII.MELODYdemonstrates the concept

ofapplies learned1.

demonstrates the ability

toMISOSA4-CONTENTCONTENT STANDARDSmelody by using intervals inconcepts of melodysing, read, and write simplemodules13,141.Intervalsmajor scales and in theand other elements tomusical notations in the:MISOSA6-2.Major Scalesminor scalescomposition andmodule53.Minor Scalesperformance1.1 Key of C MajorTonong La,module6MelodiyaMU6ME-IIa-1

1.3 Key of F Major

2. analyzes the melodic MISOSA4-patterns of songs in C Major,

module14

G major, and F Major keys MU6ME-IIa-2MISOSA6-

module1,2,3,43. sings and plays solo or with

MISOSA6-

group, melodies/songs in C

module3 F

Major, G Major, and F Major

MU6ME-IIa-3 Mayor, module4

G Mayor,module6Melodiya


schools.

K to 12 BASIC EDUCATION CURRICULUM1.2 ternary (ABA)-has 3Umawit at1.2 ternary

(ABA)sections, the third sectionGumuhit 5.1.3 rondo (ABACA)similar to the first; (ABC)Valdecantos,2. Repeat

Marks– has 3 sectionsEmelita C. 1999.2.1 Da Capo (D.C.)1.3 rondo (ABACA) -haspp.34-382.2 Dal Segno

(D.S.)contrasting sections inMU6FO-IIIa-2.3 Al Fine (up to

thepieceLEARNINGSTANDARDSMATERIALSII.MELODYdemonstrates the concept ofapplies learned4. creates simple

melodies in:MISOSA5-melody by using intervals inconcepts of melody4.1 C Major,module121.Intervalsmajor scales and in theand

other elements to

contrasting sections (AB)CONTENT

*Manwal ng GuroCONTENT STANDARDS

PERFORMANCE

between repetitions ofb-1*Manwal ng Guroend)the A section (ABACA)Umawit at2.4 D.C. al Fine

(repeatGumuhit 6.from the beginningValdecantos,until the word Fine)Emelita C. 1999.2.5║::║pp.37-402.6 ┌───┐┌───┐2.712Edukasyong(ending 1, ending

2)Pangkatawan,Kalusugan atK to 12 Music Curriculum Guide May 2016Page 54of 94Learning Materials are

uploaded at http://lrmds.deped.gov.ph/.1.1 binary (AB)4.2 G Major, and2.Major Scalesminor scalescomposition

and4.3 F Major scalesMISOSA6-3.Minor ScalesperformanceMU6ME-IIa-4module3 FMayor, module4G Mayor,module6Melodiya5.sings self-

composedMISOSA6-melodies in C Major, Gmodule3 Fmajor, and F Major keysMU6ME-IIa-5Mayor, module4G

Mayor,module6MelodiyaTHIRD QUARTERIII.FORMdemonstrates understandingperforms

accurately1.identifies simple musicalMISOSA4-of the concept of musicalthe design or

structureformsmodule171. Structure of Musicalforms and musical symbolsof a given musical1.1 binary (AB) -has

2Forms(repeat marks) indicatedLEARNING COMPETENCYCODE


K to 12 BASIC EDUCATION CURRICULUM3.4D.C. al Fine (repeat fromValdecantos,the beginning until theEmelita C. 1999.word Fine)MU6FO-IIIc-3pp.393.5║::║3.6

┌───┐┌───┐*Manwal ng Guro12Umawit atLEARNINGSTANDARDSMATERIALSIII. FORMdemonstrates understandingperforms accuratelyMusika I. Abejo,of the concept of

musicalthe design or structureMary Placid.1. Structure of Musicalforms and musical symbolsof a given musical1994. pp.304-

306CONTENT

3.3 Al Fine (up to the end)CONTENT STANDARDS

PERFORMANCE

Gumuhit 5.

LEARNING COMPETENCYCODEForms(repeat marks) indicatedpiece1.1 binary (AB)2. analyzes the musical formsMISOSA4-1.2 ternary (ABA)of the following songs:module231.3 rondo (ABACA)2.1Leron,Leron,Sinta;2. Repeat MarksSitsiritsit2.1 Da Capo (D.C.)2.2Silent Night2.2 Dal Segno (D.S.)2.3Happy Birthday2.3 Al Fine (up to the2.4Joy to the WorldMU6FO-IIIa-end)2.5Bahay Kubob-22.4 D.C. al Fine (repeat2.6Ili-iliTulogAnayfrom the beginning2.7ParuparongBukiduntil the word Fine)2.8Ang Bayan Ko2.5║::║2.9Pamulinawen2.6 ┌───┐┌───┐2.10Tinikling2.7 122.11LupangHinirang(ending 1, ending 2)3. uses the different repeatMISOSA4-marks that are related tomodule17form:3.1Da Capo (D.C.)*Manwal ng Guro3.2Dal Segno (D.S.)Umawit at(ending 1, ending 2)Gumuhit 6.Valdecantos,Emelita C. 1999.pp.38-40K to 12 Music Curriculum Guide May 2016Page 55of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.*These materials are in textbooks that have been delivered to schools.

K to 12 BASIC EDUCATION CURRICULUMquality of the differentUmawit atinstruments of the

orchestraMU6TB-IIId-Gumuhit 6.e-4Valdecantos,Emelita C. 1999.pp.47-

48V.DYNAMICSdemonstrates understandingapplies the appropriate8.distinguishes varied

dynamicMISOSA5-STANDARDSMATERIALSIV.TIMBREdemonstrates understandingaurally determines the4.identifies

visually and aurally*Manwal ng Guroof the concept of timbresound of a singlethe instrumental sections

ofUmawit atIntroduction of Musicalthrough recognizing musicalinstrument in anythe Western

orchestraGumuhit 6.Instrumentsinstruments aurally andsection of the

*Manwal ng GuroCONTENT

CONTENT STANDARDS


CODE

of the concept ofdynamic levels in vocallevels in a music heardmodule16Variations in

Dynamicsdynamicsthrough a wideand instrumental8.1 piano (p)MU6DY-IIIf-g-variety of dynamic levelsmusic8.2 mezzo piano (mp)*Musika

at Sining18.3 pianissimo (pp)6. Sunico, Raul8.4 forte (f)M. et al, 2000.8.5 mezzo forte (mf)pp.51-57K to 12 Music Curriculum Guide May 2016Page 56of

94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.MU6TB-IIId-

1Valdecantos,visuallyorchestraEmelita C. 1999.pp.47-485.distinguishes aurally the*Manwal ng Gurosound of

each section of theUmawit atWestern orchestraMU6TB-IIId-Gumuhit 6.Valdecantos,e-2Emelita C. 1999.pp.47-

486.identifies the characteristics*Manwal ng Guroof each instrument in eachUmawit atsection of the

orchestraGumuhit 6.MU6TB-IIId-3Valdecantos,Emelita C. 1999.pp.47-487.describes the distinct soundLEARNING


K to 12 BASIC EDUCATION CURRICULUMSTANDARDSMATERIALSV.DY

NAMICSdemonstrates understandingapplies the appropriate8.6 fortissimo

(ff)of the concept of dynamicsdynamic levels in vocal8.7 crescendo*Manwal

ng GuroVariations in Dynamicsthrough a wide

variety ofand instrumental8.8

decrescendoUmawit atdynamic

levelsmusicGumuhit 6.



CODE

Valdecantos,Emelita C. 1999.pp.48-529. uses varied dynamic levels in*Manwal ng Guroa

songUmawit atGumuhit 6.MU6DY-IIIh-

2Valdecantos,Emelita C. 1999.pp.48-52FOURTH

QUARTERLEARNINGof the various tempousing tempo marksin a given

song or music:6. Sunico, RaulVariations of Tempoappropriately-allegroM. et al, 2000.-

andantepp.59-61-ritardando-accelerandoMU6TX-IVa-b-*Manwal ng Guro-largo1Umawit at-

prestoGumuhit 6.VI.

TEMPO demonstrates understanding performs a given song,

1. identifies the different tempo

-vivaceValdecantos,Emelita C. 1999.pp.53-542. distinguishes between*Musika at Siningritardando and accelerando6.

Sunico, Raulas used in a songM. et al, 2000.MU6TX-IVa-b-pp.612*Manwal ng GuroUmawit atGumuhit 6.K to 12 Music

Curriculum Guide May 2016Page 57of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.*Musika at Sining



STANDARDS MATERIALSValdecantos,


3. demonstrates the different *Manwal ng Gurokinds of tempo by following

Umawit at

tempo marks in a familiar MU6TX-IVa-b- Gumuhit 6.song Valdecantos,3Ex: “Pandangguhan” Emelita C. 1999.

pp.54-55

VII. TEXTURE demonstrates the concept of

performs accurately a

4. identifies aurally the texture

EASE MUSIC-

texture as: given song with of musical pieces module6Variations in Texture 1. monophonic (one

voice)monophonic, 4.1 monophonic

1. Monophony 2. homophonic (voice and

homophonic, and 4.2 homophonic Edukasyong

2. Homophony accompaniment) polyphonic textures 4.3 polyphonic Pangkatawan,3. Polyphony 3. polyphonic (many Kalusugan at

voices) Musika I. Abejo,Mary Placid.1994.

pp.224-229*Musika at Sining

MU6TX-IVc-d- 6. Sunico, RaulM. et al, 2000.1 pp.70-72

*Manwal ng Guro

Umawit atGumuhit 6.


pp.61



K to 12 BASIC EDUCATION CURRICULUMMU6HA-IVe-1Umawit attonic ( I )Gumuhit 6.IV, V) as accompaniment toUmawit atsimple songsMU6TX-IVc-d-Gumuhit 6.Valdecantos,4LEARNING

COMPETENCYCODELEARNINGSTANDARDSMATERIALSVII.TEXTUREdemonstrates the concept ofperforms accurately a5.Identifies different texturesOHSP MUSICtexture as:given song with

CONTENT

Page 59of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.Valdecantos,Emelita C. 1999.pp.63-65Emelita C. 1999.pp.63-65VIII.HARMONYdemonstrates understandingdemonstrates harm


ony8.identifies the intervals of the*Musika at Siningof the concepts of harmonyin group performancesfollowing major triads:6. Sunico, Raul1. Primary Chordsthrough the intervals that1.choirM. et al, 2000.2. Harm

ony in Groupconstitute the primary2.rondallapp.78-81Performanceschords of major and minor3.lyre bandscales in music*Manwal ng Guro5.1 VocalVariations in Texture1. monophonic (one voice)monophonic,5.1.1 solo voice

*Manwal ng Guro1. Monophony2. homophonic (voice andhomophonic, and5.1.2 solo voice withUmawit at2. Homophonyaccompaniment)polyphonic texturesaccompanimentMU6TX-IVc-d-Gumuhit 6.3. Polyphony3. poly

phonic (many5.1.3 duet, partner2Valdecantos,voices)songs, round songsEmelita C. 1999.5.2 Instrumentalpp.59-625.2.1 solo5.2.2 ensemble6.distinguishes monophonic,MU6TX-IVc-d-EASE MUSIC-homophonic, and poly

phonicmodule63textures7. applies primary chords (I,*Manwal ng GuroCONTENT STANDARDSPERFORMANCE


K to 12 BASIC EDUCATION CURRICULUMCODELEARNINGSTANDARDSMATERIALS

VIII. HARMONYdemonstr

ates understandingdemonstrates

harmonysubdominant ( IV )of

the concepts

of harmonyin group

performances1.

Primary Chordsthrough the intervals

that1.choirCONTENT

CONTENT STANDARDS

PERFORMANCELEARNING COMPETENCY2. Harmony in Groupconstitute the primary2.rondallaPerformanceschords of major and minor3.lyre bandscales in musicdominant ( V )MU6HA-IVf-2

E minor



K to 12 BASIC EDUCATION CURRICULUMCODELEARNINGSTANDARDSMATERIALSCONTENT

D minor

CONTENT STANDARDS

PERFORMANCE

LEARNING COMPETENCY10. distinguishes the sound of a

*Manwal ng Guro

major chord from a minor Umawit atchord MU6HA-IVe-f- Gumuhit 6.

Valdecantos,3 Emelita C. 1999.pp.64-65

11. uses the major triad as *Manwal ng Guroaccompaniment to simple Umawit atsongs MU6HA-IVg-h- Gumuhit 6.

4 Valdecantos,Emelita C. 1999.

pp.67




MUSIC OF THE PHILIPPINES

of Luzon;9.provides harmonicMU7LU-Id-9accompaniments to selectedmusic of the Lowlands of Luzon;10. evaluates music and musicpp.251Devotional) music: Mass,5.improvises

simplePastores, Senakulo,rhythmic/melodicPasyon, Salubong, Floresaccompaniments to selectedMU7LU-Ic-f-5de Mayo, Santacruzan;music from the Lowlands ofd)Secular music: Harana,and geography;MU7LU-Ib-3Kalusugan atMusika

III.pp.248-250de Mayo, Santacruzan;2.analyzes the musical elements ofEASE-module2d)Secular music: Harana,some

Lowland vocal andBalitaw, Kumintang, Polka;instrumental music selections;*Edukasyonge)Art music:

Kundiman.LEARNING COMPETENCYCODELEARNINGSTANDARDSMATERIA

LSFIRST QUARTER

et al, 1999.

Luzon in relation to its culture c)Sacred (Liturgical andCONTENT

CONTENT STANDARDSPERFORMANCEMusic of Luzon ( Lowlands)The Learner…The Learner...The learner . . .EASE-module2Geographical and Culturaldemonstratesperforms musicof the1.identifies the musicalOHSP Musiccharacteristics of representativeBackgroundunderstanding of thelowlands with appropriatemusic selections from theModule Q1musical characteristicspitch, rhythm, expressionlowlands of Luzon after1.Vocal Musicof representativeand stylelistening;MU7LU-Ia-1*Edukasyonga)Performance practice;music from thePangkatawan,b)Folk songs;lowlands of LuzonKalusugan atc)Sacred (Liturgical andMusika III.Devotional) music: Mass,Adriano, Celia T.Pastores, Senakulo,et al, 1999.Pasyon, Salubong, FloresPangkatawan,MU7LU-Ia-2Kalusugan at2.Instrumental MusicMusika III.a)Rondalla;Adriano, Celia T.b)Brass Band;et al, 1999.c)Musikong Bumbonglpp.248-2503.explains the distinguishingEASE-module1d)Bamboo organ;characteristics of representativee)Angklung ensemble;*EdukasyongPhilippine music selections fromf)Himig Pangkat Kawayan.Pangkatawan,Adriano, Celia T.et al, 1999.pp.236-248K to 12 Music Curriculum Guide May 2016Page 62of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.*These materials are in textbooks that have been delivered to schools.K to 12 BASIC EDUCATION CURRICULUMCONTENTCONTENT STANDARDSPERFORMANCELEARNING COMPETENCYCODELEARNINGSTANDARDSMATERIALSMusic of Luzon ( Lowlands)demonstratesperforms music of the4.explores ways of producingEASE-module1understandingofthelowlands with appropriatesounds on a variety of sourcesGeographical and Culturalmusical characteristicsofpitch, rhythm, expressionthat is similar to the instruments*EdukasyongBackgroundrepresentative music fromand stylebeing studied;Pangkatawan,the lowlands of LuzonMU7LU-Ib-f-4Kalusugan at1. Vocal MusicMusika III.a)Performance practice;Adriano, Celia T.b)Folk songs;Luzon;Balitaw, Kumintang, Polka;6.performse)Art music: Kundiman.instruments/improvisedMU7LU-Ig-h-6instruments from Luzon2. Instrumental Musiclowlands;a)Rondalla;7.sings folksongs from the*Edukasyongb)Brass Band;lowlands of Luzon;Pangkatawan,c)Musikong BumbonglKalusugan atd)Bamboo organ;MU7LU-Ia-h-7Musika III.e)Angklung ensemble;Adriano, Celia T.Himig Pangkat Kawayan.et al, 1999.pp.236-2488.creates appropriate movementsor gestures to accompany theMU7LU-Ia-h-8music selections of the Lowlandsperformances applyingMU7LU-Ic-h-knowledge of musical elements10and styles.K to 12 Music Curriculum Guide May 2016Page 63of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.*These materials are in textbooks that have been delivered to schools.

K to 12 BASIC EDUCATION CURRICULUMC.VisayasMindoro, Palawan and of theAdriano, Celia T.Visayas;et al, 1999.K to 12 Music Curriculum Guide May 2016Page 64of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.*These materials are in textbooks that have been delivered to schools.pp.265a)Gangsa

ensemble;3.explains the distinguishing*Edukasyongb)Bamboo solo/ensemble.characteristics of representativePangkatawan,music from

Cordillera, Mindoro,Kalusugan atB. Mindoro and PalawanPalawan and of the VisayasinMU7LV-IIb-f-

32.CODELEARNINGSTANDARDSMATERIALSSECOND QUARTER

music from the Cordillera,Instrumental MusicCONTENT

CONTENT STANDARDS

PERFORMANCE Musika III.

LEARNING COMPETENCYMusic of Cordillera, Mindoro,The Learner…The Learner...The Learner...*EdukasyongPalawan, and the Visayas1.identifies the musicalPangkatawan,demonstratesperforms selected vocalcharacteristics of representativeKalusugan atA.Cordilleraunderstanding of theand instrumental musicofselections of Cordillera, Mindoro,MU7LV-IIa-f-1Musika III.musical characteristics ofCordillera, Mindoro,Palawan and of the Visayas afterAdriano, Celia T.Geographical, cultural, andrepresentative music fromPalawan and the Visayaslistening;et al, 1999.historical backgroundthe highlands of Luzon,in appropriate stylepp.248-256,Mindoro, Palawan, and thepp.2651.Vocal Music;Visayas2. analyzes the musical elements of*Edukasyonga)Performance practice;some vocal and instrumentalPangkatawan,b)Representativeselections from Cordillera,Kalusugan atsongs/genre (salidummay,Mindoro, Palawan and of theMU7LV-IIa-f-2Musika III.oggayam, ba-diw).Visayas after listening;Adriano, Celia T.et al, 1999.Musika III.relation to its culture andAdriano, Celia T.1.Vocal Music;geography;et al, 1999.a)Performance practice;pp.248-259b)Representative4. explores ways of producing*Edukasyongsongs/genresounds on a variety of sourcesPangkatawan,(Vocal chants -Ambahan,similar to instruments beingKalusugan atIgway).studied;MU7LV-IIb-g-4Musika III.Adriano, Celia T.2.Instrumental Musicet al, 1999.a)Instrumental ensembles:pp.257-258Bamboo / Gong5.improvises simple*Edukasyongensemble ;rhythmic/melodicPangkatawan,b)Solo instruments.accompaniments to selectedMU7LV-IIb-g-5Kalusugan at

K to 12 BASIC EDUCATION CURRICULUMK to 12 Music Curriculum Guide May 2016Page 65of

after listening;CONTENT

CONTENT STANDARDS

94Learning Materials are uploaded at http://lrmds.

deped.gov.ph/.*These materials are in textbooks th

at have been delivered to schools.and styleMU7LV-

IIc-h-9Cordillera, Mindoro, Palawan andof the Visay

as;Mindoro, Palawan and of the2.Instrumental MusicV

isayas;a)InstrumentalCODELEARNINGSTANDARDSMATERI

ALS1.Vocal Musicdemonstratesperforms selected voca

l andpp.252-265

PERFORMANCELEARNING COMPETENCYa)Performance practice;understanding of theinstrumental musicofb)Representativemusical characteristics ofCordillera, Mindoro, Palawan6.performs*Edukasyongsongs/genre: Balitao-representative music fromand the Visayas ininstruments/improvisedPangkatawan,Visayan, Pastores-the highlands of Luzon,appropriate styleinstruments from Cordillera,Kalusugan atChristmas, Kanta -Mindoro, Palawan, and theMindoro, Palawan and of theMU7LV-IIb-g-6Musika III.Folksong, Ballad,VisayasVisayas, alone and/or withAdriano, Celia T.Lullaby, Courtship,others’et al, 1999.and Composo -pp.258Ilonggo narrative7.provides accompaniment tosong.selected music of the Cordillera,MU7LV-IIb-g-78.sing songs from the Cordillera,*Edukasyongensembles: Rondalla,Mindoro, Palawan and of thePangkatawan,Tultogan, Harp, Band,Visayas;Kalusugan at“Bird Dance” BinanogMU7LV-IIa-f-8Musika III.(Panay, Bukidnon)Adriano, Celia T.et al, 1999.pp.252-2659.creates appropriate movementsto accompany music from the10.evaluates music and musicMU7LV-IIc-h-performances applying10knowledge of musical elementsand style.THIRD QUARTERMusic of MindanaoThe Learner…The Learner...The Learner...*Edukasyong1. identifies the musicalPangkatawan,A. Islamic Musicdemonstratesperforms musicofcharacteristics ofMU7MN-IIIa-g-Kalusugan atMindanao withMusika III.1. Vocal music:understanding of therepresentative music1musical characteristics ofappropriate expressionselections from MindanaoAdriano, Celia T.a)chants;et al, 1999.K to 12 BASIC EDUCATION CURRICULUM

instruments being studied;Musika III.4Adriano, Celia T.et al, 1999.Kalusugan atLEARNING COMPETENCYCODELEARNINGSTANDARDSMATERIALSb)lullaby.representative music frompp.252-253Mindanao2. Instrumental

Ensemble:

CONTENT

CONTENT STANDARDSPERFORMANCE2.analyzes the musical*Edukasyonga) Kulintang ensemble ;elements of some MindanaoPangkatawan,b) bamboo ensemble ;vocal and instrumentalMU7MN-IIIa-g-Kalusugan atmusic;Musika III.c) solo instruments.2Adriano, Celia T.3. Non-Islamicet al, 1999.pp.252-253a)Christian;3.explains the distinguishing*Musika at Siningb)Lumad:characteristics ofI. Padro, Alicia N.(Folk songs ofrepresentative musicMU7MN-IIIa-g-et al, 1998. pp.2-Zamboanga, Butuan andselections of Mindanao in33Tausug).relation to its culture andgeography;4. explores ways of producing*Edukasyongsounds on a variety ofPangkatawan,sources that is similar to theMU7MN-IIIb-h-pp.253-2545.improvises simplerhythmic/melodicMU7LV-IIIc-h-accompaniments to selected5music from

Mindanao;6.performinstruments/improvisedMU7LV-IIIc-h-instruments from Mindanao,6alone and/or with others;7.sing songs from Mindanao;MU7LV-IIId-h-78.creates appropriateMU7LV-IIIc-8movements or gestures toaccompany the musicK to 12 Music Curriculum Guide May 2016Page 66of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.*These materials are in textbooks that have been delivered to schools.

K to 12 BASIC EDUCATION CURRICULUMexplains the

distinguishingMU7FT-IVa-h-5EASE-

module1characteristics of representativePhilippine

festivals and theatricalK to 12 Music Curriculum Guide

May 2016Page 67of 94Learning Materials are uploaded at

http://lrmds.deped.gov.ph/.*These materials are in textbooks that have been delivered to schools.a)Komedya/Moro-

3.creates movements to music of a*Edukasyongparticular

Philippine festival;Pangkatawan,moro/Arak

yostyle.FOURTH QUARTERPhilippine FestivalsThe

Learner…The Learner...The Learner...LEARNING

COMPETENCYCODELEARNINGSTANDARDSMATERIALSdemonstrate

sperforms musicofselections of Mindanao;

CONTENT skills related to theaterCONTENT STANDARDS

Page STANDARDSCOMPETENCYa specific idea or6music in a particular Philippinemusical theater;7. sing selection/s from chosenMU7FT-IVe-h-7K to 12 BASIC EDUCATION CURRICULUMat1999.ofatihan1.demonstrates1.performscharacteristicsMU7FT-IVa-g-1of selected Philippine festivalsb)Davao - Kadayawanunderstanding andexcerpts/selections fromand theatrical forms throughc)Marinduque – Morionesapplication of musicalPhilippine musicalvideo or live performances;d)Cebu – Sinulogskills related totheaterIbalonselected PhilippinePhilippineandfestival/s;III.2.demonstratesPhilippine festivalsFormsunderstanding andmusicalwith appropriatemusical characteristics ofexpression and styleprovides accompaniment to

fromselected music ofselectionsand music performancesof10PERFORMANCE

K to 12 Music Curri

culum Guide May 2016CONTENTLearning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to

schools.


MUSIC OF ASIA

Adriano, Celia T.Et al, 1999.pp.305-308,K to 12 Music Curriculum Guide Ma

CONTENT 4.CONTENT STANDARDS Musika III.analyzes musical elementsPERFORM

y 2016OHSP Q2of selected songs andinstrumental pieces he

ANCE

ard*Edukasyongand performed;Pangkatawan,MU8SE-Ib

-h-4Kalusugan atLEARNINGSTANDARDSMATERIALSFIRST Q

UARTERMUSIC OF SOUTHEAST ASIAThe Learner…The Learner

...LEARNING COMPETENCYCODEThe Learner...OHSP Q2Geographical, historical and culturaldemonstratesperforms Southeast Asian1.explains how the music of*Edukasyonga Southeast Asian countrybackgroundunderstanding of commonsongs with appropriaterelates to its geographyPangkatawan,musical characteristics ofpitch, rhythm, expressionand culture;Kalusugan at1.Indonesia-Gamelanthe region as well asand style.MU8SE-Ia-h-1Musika III.a.Javanese;unique characteristics of aAdriano, Celia T.b.Balinese.particular Southeast AsianEt al, 1999.country.pp.299-3082.Thailand-Piphat2.listens perceptively toMU8SE-Ia-h-2OHSP Q2music of Southeast Asia;Cambodia-Pinpeat3.3.sings songs of SoutheastMU8SE-Ic-h-3OHSP Q2Asia;Myanmar-Saung Gauk4.Musika III.Adriano, Celia T.Et al, 1999.pp.299-305,pp.308-3125.explores ways ofOHSP Q2producing sounds on a*Edukasyongvariety of sources thatPangkatawan,would simulateMU8SE-Ic-h-5Kalusugan atinstruments being studied;Page 69of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.*These materials are in textbooks that have been delivered to schools.

K to 12 BASIC EDUCATION CURRICULUMMusika III.e)K-Pop and J-PopAdriano, Celia T.Et al, 1999.pp.289K to 12 Musi

CONTENT d)CONTENT STANDARDS

c Curriculum Guide May 2016Kalusugan at4.Myanmar-Sa

ung Gaukmusical elements andMU8SE-Ic-h-8style.SECON

D QUARTERCODELEARNINGSTANDARDSMATERIALSMUSIC OF SOU

THEAST ASIAdemonstratesperforms Southeast Asianpp.3

12-313understanding of commonsongs with appropriate

PERFORMANCELEARNING COMPETENCYGeographical, historical and culturalmusical characteristics ofpitch, rhythm, expression6.improvises simpleOHSP Q2backgroundthe region as well asand style.accompaniment toMU8SE-Ic-h-6unique characteristics of aselected Southeast Asian1.Indonesia-Gamelanparticular Southeast Asianmusic;a.Javanese;country.7.performs on availableOHSP Q2b.Balinese.instruments fromMU8SE-Ic-h-72.Thailand-PiphatSoutheast Asia;8.evaluates music andOHSP Q23.Cambodia-Pinpeamusic performancesapplying knowledge ofMusic of East AsiaThe Learner…The Learner...The Learner...OHSP Q21.China1.explains how East Asian*Edukasyongmusic relates to its2.Japandemonstratesperforms East Asiangeography and culture;Pangkatawan,3.Koreaunderstanding of commonmusic with appropriateMU8SE-IIa-g-1Kalusugan atand distinct musicalpitch, rhythm, expressionMusika III.a)Geographical, historical andcharacteristics of Eastand styleAdriano, Celia T.cultural backgroundAsian countriesEt al, 1999.b)Traditional instrumentspp.267, 274, 282(idiophones, aerophones,OHSP Q2membranophones, and2.listens perceptively tochordophones)music of East Asia;*Edukasyongc)Instrumental pieces (solo andPangkatawan,ensemble)MU8SE-IIa-h-2Folksongs and ritual musicPage 70of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.*These materials are in textbooks that have been delivered to schools.

K to 12 BASIC EDUCATION CURRICULUM280, 283-2865.explores ways of producingOHSP

Q2sounds on a variety ofsources that would*Edukasyongsimulate instruments

beingPangkatawan,studied;MU8SE-IIb-h-5Kalusugan atLEARNING

COMPETENCYCODELEARNINGSTANDARDSMATERIALSMusic of East Asiademonstratesperforms East AsianOHSP

Q2understanding of commonmusic with appropriate3.sings songs of East Asia;1.Chinaand distinct

musicalpitch, rhythm, expression

CONTENT

CONTENT STANDARDSPERFORMANCE*Edukasyong2.Japancharacteristics of Eastand stylePangkatawan,3.KoreaAsian countriesMU8SE-IIc-h-3Kalusugan atMusika III.a)Geographical, historical andAdriano, Celia T.cultural backgroundEt al, 1999.b)Traditional instrumentspp.268-270, 278-(idiophones, aerophones,279, 284-286,membranophones, and4.analyzes musical elementsOHSP Q2chordophones)of selected songs andc)Instrumental pieces (soloinstrumental pieces heard*Edukasyongand ensemble)and performed;Pangkatawan,d) Folksongs and ritual musicMU8SE-IIc-h-4Kalusugan ate)K-Pop and J-PopMusika III.Adriano, Celia T.Et al, 1999.pp.267-270, 274-Musika III.Adriano, Celia T.Et al, 1999.pp.271-272, 280-282, 286-2896.improvises simpleOHSP Q2accompaniment toMU8SE-IIc-h-6selected East Asian music;7.performs on availableOHSP Q2instruments from EastMU8SE-IIb-h-7Asia;K to 12 Music Curriculum Guide May 2016Page 71of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.*These materials are in textbooks that have been delivered to schools.K to 12 BASIC EDUCATION CURRICULUM

demonstrates anperformsSouth AsiaSouth Asian and the MiddleKalusugan at4.Indiaunderstanding ofand the Middle

EastEast country relate to itsMU8WS-IIIa-Musika III.5.Israelcommon and distinctmusic with

appropriategeography and culture;g-1Adriano, Celia T.musical characteristicspitch, rhythm,Et al,

1999.a)Geographical, historical andof South Asia and theexpression and style.pp.2911. explains how music of

aLEARNING COMPETENCYCODELEARNINGSTANDARDSMATERIALSMusic of East

Asiademonstratesperforms East Asian8.evaluates music andOHSP Q2understanding ofmusic withmusic performances

CONTENT

CONTENT STANDARDSPERFORMANCE1.Chinacommon and distinctappropriate pitch,applying knowledge of*Edukasyong2.Japanmusical characteristicsrhythm, expressionmusical elements andPangkatawan,3.Koreaof East Asian countriesand stylestyle.Kalusugan atMusika III.a)Geographical, historical andAdriano, Celia T.cultural backgroundEt al, 1999.b)Traditional instrumentsMU8SE-IIb-h-8pp.267-287(idiophones, aerophones,membranophones, andchordophones)c)Instrumental pieces (soloand ensemble)d) Folksongs and ritual musice) K-Pop and J-PopTHIRD QUARTERMusic of South Asia and MiddleThe Learner…The Learner...The Learner...*EdukasyongEastPangkatawan,cultural background;Middle East.2.listens perceptively to*Edukasyongb)Traditional instrumentsmusic of South Asia andPangkatawan,(idiophones, aerophones,the Middle East;MU8WS-IIIa-Kalusugan atmembranophones, andMusika III.h-2chordophones) ;Adriano, Celia T.c)Instrumental pieces (solo andEt al, 1999.ensemble);pp.297d)Folksongs and ritual music3.sings songs of South AsiaMU8WS-IIIc-and the Middle East;g-34.analyzes musical elementsMU8WS-IIIc-*Edukasyongof selected songs andh-4Pangkatawan,K to 12 Music Curriculum Guide May 2016Page 72of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.*These materials are in textbooks that have been delivered to schools.K to 12 BASIC EDUCATION CURRICULUM

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CONTENT STANDARDSPERFORMANCEand performed;Musika III.common and distinctmusic with appropriateAdriano, Celia T.4.Indiamusical characteristicspitch, rhythm,Et al, 1999.5.Israelof South Asia and theexpression and style.pp.291-295a)Geographical, historical andMiddle East.5.explores ways of*Edukasyongproducing sounds on aPangkatawan,cultural background;variety of sources thatMU8WS-IIIc-Kalusugan atb)Traditional instrumentswould simulateMusika III.h-5(idiophones, aerophones,instruments beingAdriano, Celia T.membranophones, andstudied;Et al, 1999.chordophones) ;pp.296-297c) Instrumental pieces (solo and6.improvises simpleensemble);accompaniment toMU8WS-IIIb-d) Folksongs and ritual musicselected South Asia andh-68.evaluates music andmusic performancesMU8WS-IIIc-applying knowledge ofh-8musical elements andstyle.FOURTH QUARTERTraditional Asian Theater MusicThe Learner…The Learner...The Learner...1.Wayang Kulit;1.identifies musical2.Kabuki;demonstratesperforms excerpts fromcharacteristics of selectedMU8TH-IVa-g-3.Peking Opera.understanding andtraditional Asian theaterAsian musical theater1application of musical skillswith appropriate pitch,through video films or liverelated to selectedrhythm,

expression, andtheater;K to 12 Music Curriculum Guide May 2016Page 73of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.*These materials are in textbooks that have been delivered to schools.K to 12 BASIC EDUCATION CURRICULUM

and theatrical form;8.evaluates music andmusic performancesMU8TH-IVc-h-applying knowledge of8musical

elements andLEARNING COMPETENCYCODELEARNINGSTANDARDSMATERIALSTraditional Asian Theater Musicdemonstratesperforms excerpts from3.describe how the musical1.Wayang Kulit;understanding andtraditional Asian theaterelements contribute to theMU8TH-IVb-h-2.Kabuki;application of

musical skillswith appropriate pitch,performance of the33.Peking Opera.related to selectedrhythm, expression, andmusical production;

CONTENT

Page 74of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.style.traditional Asian theaterstyle4.identifies the instrumentsthat accompany Kabuki,MU8TH-IVa-


g-Wayang Kulit, Peking4Opera;5.explains the distinguishingMU8TH-IVa-g-characteristics ofrepresentative Asian5musical theater;6.describe how a specificidea or story isMU8TH-IVa-g-communicated through6musi

c in a particular Asianmusical theater;7.creates/improvisesappropriate sound, music,gesture, movements,props and costume forMU8TH-IVb-h-performance of a chosen7Asian traditional musicalCONTENT STANDARDSPE

RFORMANCE



HISTORY OF WESTERN MUSIC

CLASSICAL PERIOD1.narrates the life and works of(1750-1820)demonstratessings and performs

themes ofclassical composers after videoMU9CL-IIa-f-1understanding ofsymphonies

and otherand movie showing;K to 12 Music Curriculum Guide May 2016Page 76of 94Learning

Materials are uploaded at http://lrmds.deped.gov.ph/.*These materials are in textbooks that have been delivered to schools.al,

1999. pp.274-2867.improvises appropriateaccompaniment to givenMU9MRB -

Ib-d-Medieval and Renaissance7songs;CONTENTCONTENT

STANDARDSPERFORMANCE STANDARDSLEARNING

COMPETENCYCODELEARNINGMATERIALSK to 12 Music Curriculum Guide May 2016Page 75of

94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.*These materials are in textbooks that have been delivered to

schools.K to 12 BASIC EDUCATION CURRICULUM(1400-1600)al, 1999. pp.274-

a)Historical and286cultural background;3.relates Medieval,

Renaissance*Edukasyongb)Mass;and Baroque music to itsPangkatawan,c)Madrigal;Baroque

periods;CODELEARNINGMATERIALSFIRST QUARTER

CONTENT MUSIC OF THE277, 284CONTENT STANDARDS

The Learner…Guinevere I. EtPERFORMANCE STANDARDS

LEARNING COMPETENCYThe Learner…The Learner...The Learner...1. MUSIC OF THEMEDIEVAL PERIODdemonstratesperformsselected songs from1.listens perceptively toMU9MRB-Ia-h-(700-1400)understanding ofMedieval, renaissance andselected vocal and1characteristic features ofbaroque periodsinstrumental music ofa)Historical andthe Medieval, RenaissanceMedieval, Renaissance andcultural background;and Baroque period musica)Chants;Baroque music;b)Gregorian chants;b)Madrigals;2.explains the performance*Edukasyongc)Troubadour music;c)excerpts frompractice (setting, composition,Pangkatawan,d)Composer - Adamoratorio;role of composers/performers,Kalusugan atde la Halle.d)chorales;and audience) duringMU9MRB -Ia-h-Musika IV.e)troubadour.Medieval, Renaissance and2Sacdalan,2. RENAISSANCE PERIODhistorical and culturalKalusugan atd)Composers -background throughMU9MRB -Ic-f-Musika IV.Giovanni dadramatization;3Sacdalan,Palestrina andGuinevere I. EtThomas Morley.al, 1999. pp.274-2833. MUSIC OF THE BAROQUE4.sings Medieval chant,*EdukasyongPERIOD (1685-1750)troubadour song, madrigal,Pangkatawan,chorale and selections fromKalusugan ata)Historical and culturaloratorio with correct pitch,MU9MRB -Ib-h-Musika IV.background;rhythm, expression and style;4Sacdalan,b)Concerto Grosso,Guinevere I. Etal, 1999. pp.274-Fuguec)Oratorio and choraledemonstratesperformsselected songs from5.describes musical elements of*Edukasyongd)Composers: Johannunderstanding ofMedieval, renaissance andgiven Medieval, RenaissancePangkatawan,Sebastian Bach andcharacteristic features ofbaroque periodsand Baroque music;Kalusugan atGeorge Friedrichthe Medieval, RenaissanceMU9MRB -Ib-f-Musika IV.Handeland Baroque period musica)Chants;5Sacdalan,b)Madrigals;Guinevere I. Etc)excerpts fromal, 1999. pp.274-oratorio;283d)chorales;6.explores other arts and

media*Edukasyonge)troubadour.that portray Medieval,Pangkatawan,Renaissance and BaroqueKalusugan atelements;MU9MRB -Ib-f-Musika IV.6Sacdalan,Guinevere I. Et8.create and or perform songsMU9MRB-Ib-h-in Gregorian and troubadour8styles;9.play simple melodies of a*Edukasyongchorale and providePangkatawan,accompaniment.MU9MRB-Ib-h-Kalusugan atMusika IV.9Sacdalan,Guinevere I. Etal, 1999. pp.275SECOND QUARTERThe Learner...The Learner...

K to 12 BASIC EDUCATION CURRICULUMGuinevere I. Etal, 1999. pp.263-2645. describes musical elements of*Edukasyonggiven Classical

period pieces;Pangkatawan,MU9CL-IIb-g-5Kalusugan atMATERIALSa)Historical andcharacteristic features ofinstrumental forms2.relates Classical music

to its*Edukasyongcultural background;Classical period musichistorical and culturalPangkatawan,b)Sonata, sonatabackground;


PERFORMANCE STANDARDS LEARNING COMPETENCY CODE

Musika IV.Sacdalan,Guinevere I. Et al,1999. pp.261-2726.analyzes sonata allegro

form;*EdukasyongPangkatawan,MU9CL-IIe-h-6Kalusugan atMusika IV.Sacdalan,Guinevere I. EtK to 12 Music Curriculum Guide May 2016Page

77of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.Kalusugan atallegro form,demonstratessings and performs themes

ofMU9CL-IIa-f-2Musika IV.concerto,understanding ofsymphonies and

otherSacdalan,symphony;characteristic features ofinstrumental formsGuinevere I. Etc)Composers: FranzClassical period musical, 1999. pp.261Josef

Haydn,3.explains the performance*EdukasyongWolfgang Amadeuspractice

(setting, composition,Pangkatawan,Mozart, and Ludwigrole of composers/performers,Kalusugan

atvan Beethoven.and audience) during ClassicalMU9CL-IIa-f-3Musika IV.period;Sacdalan,Guinevere I. Etal,

1999. pp.261-2724.listens perceptively to*Edukasyongselected Classical

periodPangkatawan,music;Kalusugan atMU9CL-IIb-g-4Musika IV.Sacdalan,LEARNING


K to 12 BASIC EDUCATION CURRICULUMRomantic period;Sacdalan,Guinevere I. Etal, 1999. pp.222-K to 12 Music Curriculu


3PERFORMANCE STANDARDS

m Guide May 2016THIRD QUARTERThe Learner…Th

e Learner...The Learner...INSTRUMENTAL

MUSIC1.narrates the life and works ofMU9R

O-IIIa-h-OF THE ROMANTICdemonstratessin

gs and performs themes ofromantic composer

s after1LEARNINGMATERIALSMUSIC OF THEdem

onstratessings and performs themes ofal, 1

999. pp.262-CLASSICAL PERIODunderstandi

ng ofsymphonies and other

LEARNING COMPETENCYCODE263(1750-1820)characteristic features ofinstrumental forms7.sings themes or melodicClassical period musicfragments of given ClassicalMU9CL-IIb-h-7a)Historical andperiod pieces;cultural background;8.explores otherarts and media*Edukasyongb)Sonata, sonatathat portraysClassicalPangkatawan,allegro form,elements;Kalusugan atconcerto,MU9CL-IIb-h-8Musika IV.symphony;Sacdalan,c)Composers: FranzGuinevere I. EtJosef Haydn,al, 1999. pp.268-Wolfgang Amadeus269Mozart, and Ludwig9.improvises appropriatevan Beethoven.accompaniment to given shortMU9CL-IIe-9and simple Classical pieces.PERIOD (1820-1900)understanding ofselected instrumental piecesvideo and movie showing;characteristic features of2.relates Romantic period music*Edukasyonga)Historical andinstrumental Romanticto its historicaland culturalPangkatawan,cultural background;musicbackground;Kalusugan atb)Program music;MU9RO-IIIa-2Musika IV.c)Piano music;Sacdalan,d)Composers: FredericGuinevere I. EtChopin, Peter Illychal, 1999. pp.222Tchaikovsky, Franz3.explains the performance*EdukasyongLiszt, and Camillepractice (setting, composition,Pangkatawan,Saint-Saens.role of composers/performers,MU9RO-IIIb-h-Kalusugan atand audience) during theMusika IV.Page 78of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.*These materials are in textbooks that have been delivered to schools.K to 12 BASIC EDUCATION CURRICULUM

8pieces.K to 12 Music Curriculum Guide May 2016Page 79of 945Sacdalan,Guinevere I. Etal, 1999. pp.222-229, 234-

242MU9RO-IIIb-h-MATERIALSINSTRUMENTAL MUSICdemonstratessings and performs themes of229OF THE ROMANTICunderstanding ofselected instrumental

pieces4.listens perceptively to*EdukasyongPERIOD (1820-1900)characteristic features of

CONTENT Musika IV.CONTENT STANDARDS

and simple Romantic periodPERFORMANCE STANDARDS

LEARNING COMPETENCY

Saint-Saens.CODE

Learning Materials are uploaded at http://lrmds.deped.gov.ph/.6.sings themes or melodic*Edukasyongfragments of given RomanticPangkatawan,period pieces;MU9RO-IIIe-h-Kalusugan atMusika IV.6Sacdalan,Guinevere I. Etal, 1999. pp.2287.explores other arts and media*Edukasyongthat portray Romantic periodPangkatawan,elements;Kalusugan atMU9RO-IIIc-h-Musika IV.7Sacdalan,Guinevere I. Etal, 1999. pp.229-2338.improvises appropriateaccompaniment


to given shortMU9RO-IIIc-h-selected Romantic periodPangkatawan,instrumental Romanticmusic ;Kalusugan ata)Historical andmusicMU9RO-IIIb-h-Musika IV.cultural background;4Sacdalan,b)Program music;Guinevere I. Etc)Piano music;al, 1999. pp.226d)Composers: Frederic5. describes musical elements of*EdukasyongChopin, Peter Illychgiven Romantic period pieces;Pangkatawan,Tchaikovsky, FranzKalusugan atLiszt, and CamilleLEARNING

K to 12 BASIC EDUCATION CURRICULUM4elements;5.creates / improvisesappropriate sounds,

music,MU9OP-IVb-h-LEARNING COMPETENCYCODELEARNINGMATERIALSFOURTH QUARTER

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Page 80of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.gestures, movements, and5costumes for a chosen opera.that portray Romantic periodVocal Music of theThe Learner…


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and movie1b)Operacharacteristic featuresshowing;c)Composers: Franzof vocal music of the2.listens perceptively toMU9OP-IVa-g-Schubert,Romantic periodselected art songs and2Guiseppe Verdi,excerpts of opera ;Gi

acomo Puccini,3.sings themes or melodicMU9OP-IVb-h-and Richardfragments of given selected3Wagnersongs;4.explores other arts and mediaMU9OP-IVb-h-CONTENT STANDARDSPERFORMANCE STANDARDS



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CODE*Edukasyong1.listens perceptively toPangkatawan,a)Historical and culturaldemonstrates understandingcreates musical piecesselected

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styles;Kalusugan atMU10TC-Ia-h-2Musika. Sacdalan,backgroundGuinevere IV. etb)Composer:al, 1999. pp. 203-Schoenberg208C. Others3.relates

20th century music toal, 1999. pp. 203-2084.explains the performance*Edukasyongpractice (setting, composition,Pangkatawan,role of composers/performers,Kalusugan atand

audience) of 20th centuryMU10TC-Ib-g-4Musika. Sacdalan,music;Guinevere IV. etal, 1999. pp. 203-2085. sings melodic fragments ofgiven Impressionism periodMU10TC-Ib-5pieces;K to 12 Music Curriculum Guide May 2016Page 81of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.*These materials are in textbooks that have been delivered to schools.K to 12 BASIC EDUCATION CURRICULUM

demonstrates understandingperforms vocal and dance1.observes dance styles,1.Historical and (culturalof characteristic features

offorms of Afro-Latin Americaninstruments, and rhythms ofbackground of AfricanAfro-Latin American musicmusic and

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COMPETENCYCODELEARNINGSTANDARDSMATERIALS6.explores other arts and mediaA.Impressionismdemonstrates

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centuryMU10TC-Ic-h-6Page 82of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.3.African music2.describ


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edge of 20th centuryMaurice Ravelstyles.B. Expressionisma)Historical and culturalMU10TC-Ic-h-7backgroundb) Composer: SchoenbergC.Othersa)Electronic musicb)Chance musicSECOND QUARTERAFRO-LATI

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PERFORMANCELEARNING COMPETENCYa.InstrumentsAfro-Latin American musicmusic and selections ofmusic ;3b.Vocal and Danceand Popular musicPopular music4.dances to different selectedform: Cumbia, tango,MU10AP-IIa-h-styles of Afro-Latin Americancha-cha. Rumba,4and popular music;bossanova, reggae,5.analyzes musicalMU10AP-IIa-h-foxtrot, pasa doblecharacteristics of Afro-Latin5.Jazz5American and popular music;a.Instrumental forms:6.sings selections of Afro-Latinstyle, and expression;a.Ballad, standard, rock7.explores ways of creatingand roll, alternativesounds on a variety ofmusic, discosources suitable to chosenMU10AP-IIa-7vocal and instrumentalselections;8.improvises simplevocal/instrumentalMU10AP-IIe-f-accompaniments to selected8songs;9.choreographs a chosenMU10AP-IIb-d-dance music;9THIRD QUARTERCONTEMPORARYThe Learner…The Learner...The Learner...PHILIPPINE MUSIC1.listens perceptively toMU10CM-IIIa-(Minimum of 4 composers fordemonstrates understandingsings contemporary songsexcerpts of majorh-1each)of characteristic features ofContemporary works;K to 12 Music Curriculum Guide May 2016Page 83of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.*These materials are in textbooks that have been delivered to schools.K to 12 BASIC EDUCATION CURRICULUM

c.Ernani Cuencoknowledge of musical8d.Restie Umalielements and style.e.George Cansecof.Levi Celeriostyle, and expression;2.New Music5. explores

ways of creatingMU10CM-IIId-sounds on a variety ofe-5a.Chino Toledosources;Ryan CayabyabSTANDARDSMATERIALS1.

Traditionalcontemporary musicsings contemporary songsComposersdemonstrates understanding2.describes

characteristics ofMU10CM-IIIa-of characteristic features of


PERFORMANCE performances usingLEARNING COMPETENCY

MU10CM-IIIh-CODE

g.Angel PenaK to 12 Music Curriculum Guide May 2016Page 84of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.6.improvises simpleb.Ramon Santosvocal/instrumentalc.Jose MacedaMU10CM-IIId-accompaniments to selectedd.Manuel Marambae-5songs;e.Lucresia Kasilagf.Francisco Feliciano7. create a musical on the lifeg.Jerry Dadapof a selected contemporaryMU10CM-IIIg-h.Jonas BaesPhilippine composer;h-73.Song Composera.Constancio deGuzman8. evaluates music and musicb.Mike Velardetraditional and new music;h-2a.Lucio San Pedrocontemporary music3.gives a brief biography of*Edukasyongb.Antoninoselected ContemporaryPangkatawan,BuenaventuraPhilippine composer/s ;Kalusugan atc.Antonio MolinaMU10CM-IIIc-Musika. Sacdalan,d.Alfredo Buenaventurag-3Guinevere IV. ete.Rodolfo Cornejoal, 1999. pp.209-


f.Bernardino Custodio220, 247-259g.Antonio Buencamino4.sings selections ofh.Hilarion RubioContemporary music withMU10CM-IIIb-i.Rosendo Santosappropriate pitch, rhythm,h-4j.LEARNING

K to 12 BASIC EDUCATION CURRICULUM20

th or 21

st century Philippineg)El FilibusterismoMU10MM-IIIg-musical and highlight itsh)Magsimula kab)Rama

Hari2.demonstratestechnology.3.sings selections from musicalMU10MM-IIIc-plays and opera expressively;h-33. MUSICAL

PLAYunderstanding ofPERFORMANCELEARNING COMPETENCYCODELEARNINGSTANDARDSMATERIALSh.Leopoldo Silos

f)

Page 85of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/.h-5similarities and differences toother western musical play.Noli Me Tangere4.creates / improvisesa)Andres Bonif


aciothe relationshipappropriate sounds, music,b)Atangamong music,gestures,movements, andMU10MM-IIIc-c)Katytechnology, andcostume using media andh-4d)Florante at Lauramedia.technology for a selectede)Dara

gangpart of a musical play;Magayon5.present an excerpt from ai.Santiago SuarezFOURTH QUARTER20th and 21st centuryThe Learner…The Learner...The Learner...MULTIMEDIA FORMS1. describes how an idea or story

1.demonstrates1.performs selectionsin a musical play isMU10MM-IIIa-1. OPERAunderstanding offrom musical plays,presented in a liveh-1a)La Loba Negracharacteristicballet, opera in aperformance or

video;b)Noli Me Tangerefeatures of 20th andsatisfactory level of2.explains how theatricalc)El Filibusterismo21st century operaperformance.elements in a selected part ofMU10MM-IIIa-musical play, balleta musical play

are combinedh-22.BALLETand other2.creates a musicalwith music and media toa)Lola Basyangmultimedia forms.work using media &achieve certain effects;CONTENTCONTENT STANDARDS


K to 12 BASIC EDUCATION CURRICULUMGLOSSARY

Accent emphasis/stress on a note, making it louder than the other notes

Accelerando becoming fasterAerophone Any musical instrument that produces sound primarily by causing a body of air to vibrate, without the use of strings or

membrane.Allegro fastAlto female voice of low rangeAlternative music A type of rock music that originated from the 1980s.Andante moderately slow, walking paceAngklung An instrument, originally from Indonesia, made of two bamboo tubes attached to a bamboo frame.Art song A vocal musical composition usually written for one voice with piano accompaniment.Ballad A slow or sentimental romantic song.Ballet An artistic dance form performed to music, using precise and highly formalized set steps and gestures.Barline a vertical line that divides the staff into measuresBass male voice of low rangeBeat regular, recurrent pulsation that divides music into equal units

of timeBebop Jazz music with complex harmony and rhythmsBig band A large group of musicians playing jazz or dance music with improvised solos by lead players.Binary Form a song or composition with two basic parts or ideasBlues A musical style originating from African-Americans and is typically in a twelve-bar sequence; expresses sadness or depression.Bodabil A genre of various entertainment composed of song, dance, comedy routines, magic acts, and chorus girls.Bossa Nova A style of Brazilian music derived from samba but placing more emphasis on melody and less on percussion.Cha-cha A ballroom dance with small steps and swaying hip movements, performed to a Latin American rhythm.Chance music Music created by chance and its realization is left to the

performer.K to 12 Music Curriculum Guide May 2016 Page 86of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to

schools.


Chord combination of three or more tones sounded togetherChordophone Any musical instrument that produces sound primarily by

vibrating strings.Clef symbol placed at the beginning of the staff to show the exact pitch of each line and spaceConcerto Musical composition for a solo instrument accompanied by an

orchestra.Concerto Grosso Musical composition for a group of solo instruments accompanied by an orchestra.Crescendo gradually getting louderCumbia Dance music similar to salsa.Da Capo repeat from the beginning; an indication usually meaning that the opening section of a piece is to be repeated after the middle

sectionDecrescendo gradually softerDescant an independent treble melody or counterpoint usually sung or played above a basic melody

Disco Dance music typically soul-influenced and melodic with a regular bass beat popularized in the late 1970s.Dynamics degrees of loudness and softness in musicElectronic music Music that employs electronic musical instruments and technology in production.Expressionism A style which the maker seeks to express the inner world of emotion rather than external reality.Flat Sign a symbol that notates the pitch of a note a half step lowerFolksongs songs handed down from generation to generation

Form organization of musical ideas in time; structure of a musical composition

Forte (f) loud

Fortissimo (ff) very loud

Foxtrot A ballroom dance with uneven rhythm of alternating slow and quick steps.

Fugue A contrapuntal composition in which a short melody or phrase is introduced by one part and successively taken up by others; developed by theinterweaving of the various parts.




Gamelan Indonesian musical ensemble featuring a variety of metallophones (instruments made of metal and played by hitting or striking).

Gangsa Ensemble An instrumental ensemble that uses metallophonesGrand Staff combination of the treble and bass staves, used to encompass the wide range of pitchesHarmony the pleasing sound produced when three or more

tones areblended simultaneously

Homophonic Texture refers to a melody sung or played with chord accompaniment e.g. guitar or pianoIdiophones A musical instrument that creates sound through its own vibration, without the use of any strings or membrane.Impressionism A style or movement that depicts the visual impression of the moment, especially in terms of the shifting effect of light and

color.Interval distance in pitch between two tonesJ-Pop Japanese popular music.Jazz Music originated from African-American people characterized by improvisation, syncopation, and usually a regular or forceful

rhythm.K-Pop Korean popular music.Kabuki Traditional Japanese theater performance.Key Signature sharp or flat signs immediately following the clef sign at the beginning of a piece of music, indicating the key in which the

music is to be playedKey (tonality) central note, scale and chord within a piece, in relationship to which all other tones in the composition are heardKeynote central tone of a melody or piece of music e.g. when a piece is in the Key of C Major, C is the keynoteKulintang A set of gongs usually played by ensembles in

Mindanao.Largo very slowLedger Lines short, horizontal lines above or below the staff, used to indicate a pitch that falls above or below the range indicated by the

staffLiturgical music Music composed for and played during liturgical celebrations and worship.Lumad Means “native” or “indigenous”.Madrigal Music for several voices with elaborate counterpoint; was popular during the Renaissance Period.Maracatu A musical style from Brazil.


schools.


Measure the space between two barlines, containing a fixed number of beats

Medieval Term that refers to the “Middle Ages”.Melody the line of music that moves up and down in succession; series of single tones that add up to a recognizable wholeMelodic Contour the upward and downward direction of the notesMelodic Pattern the combination of repeated, similar and contrasting figures, motives and phrasesMelodic Ostinato group of tones used to accompany a tone or a melodyMembranophone Any musical instrument that produces sound primarily by a vibrating stretched membrane.Meter organization of beats into regular groupsMezzo piano (mp) moderately softMezzo forte (mf) moderately loudModerato moderate tempoMonophonic Texture single melodic line without accompanimentMotive fragment of a theme, or short musical idea which is developed within a composition; refers to a short melody sung or played

which can identifya musical composition

Musical Texture refers to the relationship of melodic and harmonic elements in music which produces qualities of thickness and thinness, heaviness or lightnessof a melody or sound produced

Musikong Bumbong An instrumental marching band that uses bamboo instruments.Natural Sign symbol used to cancel a previous sharp or flat signNotation system of writing down music so that specific pitches and rhythms can be conveyedNote symbol used to indicate pitchOpera A dramatic work in one or more acts set to music for singers and instrumentalists.Oratorio A large-scale musical work for orchestra and voices, usually narrative and typically on a sacred theme.Ostinato motive or phrase that is repeated persistently at the same

pitchK to 12 Music Curriculum Guide May 2016 Page 89of 94



Pangkat Kawayan An instrumental ensemble that uses different kinds of bamboo instruments.

Pasa doble A fast-paced ballroom dance based on the Latin American style of marching.

Peking Opera Traditional Chinese theater performance.Pentatonic Scale a five-tone scale, used in folk music and music of the Far EastPhrase musical statements that express meaning or ideasPiano (p) softPianissimo (pp) very soft; as softly as possiblePinpeat A Cambodian instrumental ensemble.Piphat A Thai instrumental ensemble which features wind and percussion instruments.Pitch relative highness or lowness of a soundPitch Range distance between the highest and lowest tones that a given voice or instrument can producePolyphonic Texture refers to a musical composition with two or more independent melodies sung or played to create a harmonious effectProgram music Music that is intended to evoke images or to convey the impression of events.Ragtime A kind of music which evolved with syncopated melodic line and regularly accented accompaniment.Reggae A style of music originally from Jamaica and popularized in the

1960s.Renaissance Term that refers to the revival of European art under the influence of Classical Models.Rest a symbol that indicates the duration of silence in musicRhythm ordered flow of music through time; the pattern of durations of notes and silences in musicRhythmic Pattern combinations of long and short sounds, notes and restsRitardando becoming slowerRock and roll Popular dance music from the 1950s characterized by heavy beats and simple melodies.Rondalla An instrumental ensemble that usually consists of musicians playing banduria, octavina, laud, guitar and double bass.K to 12 Music Curriculum Guide May 2016 Page 90of 94Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to

schools.


Round form of music wherein a melody change from a single-voiced texture to a many-voiced texture; each voice enters in succession; the effect isthat of weaving a new and richer rhythmic and harmonic texture

Rumba A rhythmic dance with Spanish and African elements originally from Cuba.

Sacred music Music that promotes devotion and faith.Sarsuela A musical stage performance popularized in the Philippines during the Spanish colonization.Saung gauk An arched harp used in Myanmar.Scale series of pitches arranged in ascending or descending orderSecular music Music for non-religious purposes.Sharp Sign symbol that notates the pitch of a note a half step higherSonata A composition for an instrumental soloist, often with a piano accompaniment, typically in several movements with one or more

in sonata form.Sonata-allegro form A large-scale musical structure popularly used during the middle of the 18th century.Soprano female voice of high rangeSoul Musical style that incorporates rhythm and blues and gospel music popularized by African-American people.Sound vibrations which are transmitted, usually through air, to the eardrum, which sends impulses to the brainStaff a set of five lines and four spaces where notes are positioned or

placedSymphony An elaborate musical composition for full orchestra, typically in four movements, at least one of which is in sonata form.Tango A ballroom dance originating from Buenos Aires, characterized by marked rhythms and postures and abrupt pauses.Tempo rate of speed in musicTenor male voice of high rangeTimbre quality of sound that distinguishes one instrument or one voice from anotherTime Signature two numbers, one above the other, appearing at the beginning of a staff or the start of a piece, indicating the meter of a piece;

the numberabove refers to the number of beats per measure and the number below represents the kind of note getting one beat.

Tone sound that has a definite pitch or frequency




Triad the most basic type of chord, consisting of three alternate tones of the scale e.g. do, mi, so

Troubadour Street musicians singing of love during the Medieval Period.Unison performance of a single melodic line by more than one instrument or voice a t the same pitchWayang Kulit Indonesian puppet shadow theater.


Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to

schools.


CODE BOOK LEGEND

Sample: MU7FT-IVe-h-6

specific weekDescribes how a specificidea or story isArabic NumberCompetencycommunicate

LEGEND SAMPLEd through6

Learning Area andStrand/ Subject orMusic

SpecializationFirst Entry

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Rhythm RHMelody MEForm FOTimbre TBDynamics DYTempo TPTexture TXHarmony HAMusic of Luzon LUMusic of Cordillera, Mindoro, Palawan, and the

LV

VisayasMusic of Mindanao MNTheatrical Forms FTMusic of southeast asia SE

Music of South Asia and Middle East WSTraditional Asian Theater Music THMusic of the medieval period MRBMusic of the classical period CLInstrumental music of the romantic period RO

Vocal Music of the Romantic Period OP2Oth Century TCAfro-latin and popular music APContemporary Philippine music CMMultimedia forms MM



K to 12 BASIC EDUCATION CURRICULUMREFERENCES

Abeles, Harold, Hoffer, Charles and Klotman, Robert. Foundations of Music Education, (New York: Schirmer Books, 1984)

Armstrong, Thomas. "American Institute for Learning and Human Development." Multiple Intelligences. 2010.

http://www.thomasarmstrong.com/multiple_intelligences.htm . Bruner, Jerome, The Process of Education. (Cambridge, Mass.: Harvard University Press,

1977)

Bureau of Elementary Education, 2002 Basic Education Curriculum. (Pasig City: Department of Education, 2002)

Bureau of Elementary Education, 2002 Philippine Elementary Learning Competencies. (Pasig City: Department of Education, 2002)

Bureau of Secondary Education, Department of Education. Basic Education Curriculum. Pasig City, 2002.

Bureau of Secondary Education, Department of Education Culture and Sports. Desired Learning Competencies New Secondary Education Curriculum. Pasig City, 1991.

Bureau of Secondary Education, Department of Education Culture and Sports. Desired Learning Competencies Philippine Secondary Schools Learning Competencies. Pasig City, 1998.

Bureau of Secondary Education, Department of Education. Secondary Education Curriculum. Pasig City, 2010.

Gardner, Howard. "Multiple Intelligences." Howard Gardner. 2010.

http://www.howardgardner.com/MI/mi.html . Gardner, Howard, Multiple Intelligences. (New York:

Basic Books Inc., 1991)

Miller, Cleve, Performance-Based Learning, (England: Cambridge University Press, 2008)

Miller, Cleve. "Performance-Based Learning (Mexico: Cambridge University Press, 2010)." Teaching Business English (audio blog), December 16, 2010. performance-based-learning.html.

Reimer, Bennett. A Philosophy of Music Education Advancing the Vision. 1991 ed. (Aesthetic Education. Upper Saddle River, New Jersey: Prentice Hall, 2003).

Reimer, Bennet, Journal of Aesthetic Education, (USA: University of Illinois Press, 1991)

Thomas, Ronald, A Structure for Music Education. (Bardonia, N.Y.: Media Materials Inc.,

1970)

http://www.thomasarmstrong.com/multiple_intelligences.htm

http://www.howardgardner.com/MI/mi.html

Thomas, Ronald B. MMCP Synthesis: A Structure for Music Education. (Bardonia, N.Y: Sponsored by the U.S. Office of Education Media Materials, 1970). Wade, Bonnie C., Thinking Musically: Experiencing Music, Expressing Culture, (England: Oxford University Press, 2003)



9. identifies the primary chords of its relative minor scales

9.1 A minor (Am)9.2 D minor (Dm)9.3 E minor (Em)

A minor

1.2 Key of G Major

Documents

guroako.com · Web viewword Fine) MU6FO-IIIc-3 pp.39 3.5 :: 3.6 *Manwal ng Guro 1 2 Umawit at (ending 1, ending 2) Gumuhit 6. Valdecantos, Emelita C. 1999. pp.38-40 K to 12 Music