7

Music
Quarter 3 – Module 1:
The Beauty and Elegance of the South
Vocal Music of Muslim Filipinos

CO_Q3_Music 7_ Module 1
Music – Grade 7
Alternative Delivery Mode
Quarter 3 – Module 1: The Beauty and Elegance of the South (Vocal Music of Muslim
Filipinos)
First Edition, 2020

Republic Act 8293, section 176 states that: No copyright shall subsist in any work of
the Government of the Philippines. However, prior approval of the government agency or office
wherein the work is created shall be necessary for exploitation of such work for profit. Such
agency or office may, among other things, impose as a condition the payment of royalties.

Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names,
trademarks, etc.) included in this book are owned by their respective copyright holders. Every
effort has been exerted to locate and seek permission to use these materials from their
respective copyright owners. The publisher and authors do not represent nor claim ownership
over them.

Published by the Department of Education

Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M. San Antonio

Development Team of the Module

Author: Howard Bong M. Abao
Content Editor: Emmanuel C. Alveyra
Language Editors: Cherrie Rose L. Desaliza, Gladys F. Cantos
Reviewer: Emmanuel C. Alveyra
Illustrator: Reymark L. Miraples, Louie J. Cortez, Richard Amores,
Pablo M. Nizal, Jr., Jan Christian D. Cabarrubias
Layout Artist: Reymark L. Miraples
Management Team: Benjamin D. Paragas, Mariflor B. Musa, Freddie Rey R. Ramirez,
Danilo C. Padilla, Annabelle M. Marmol, Florina L. Madrid,
Norman F. Magsino, Dennis A. Bermoy, Emmanuel C. Alveyra

Printed in the Philippines by ________________________

Department of Education – MIMAROPA REGION

Office Address : Meralco Avenue, Cor. St. Paul Road, Pasig City, Metro Manila
Telephone : (02)863 - 14070
E-mail Address: : [email protected]
 7

Music
Quarter 3 – Module 1:
The Beauty and Elegance of the South
Vocal Music of Muslim Filipinos
Introductory Message
This Self-Learning Module (SLM) is prepared so that you, our dear learners,
can continue your studies and learn while at home. Activities, questions, directions,
exercises, and discussions are carefully stated for you to understand each lesson.

Each SLM is composed of different parts. Each part shall guide you step-by-
step as you discover and understand the lesson prepared for you.

Pre-tests are provided to measure your prior knowledge on lessons in each

SLM. This will tell you if you need to proceed on completing this module or if you
need to ask your facilitator or your teacher’s assistance for better understanding of
the lesson. At the end of each module, you need to answer the post-test to self-check
your learning. Answer keys are provided for each activity and test. We trust that you
will be honest in using these.

In addition to the material in the main text, Notes to the Teacher are also
provided to our facilitators and parents for strategies and reminders on how they can
best help you on your home-based learning.

Please use this module with care. Do not put unnecessary marks on any part
of this SLM. Use a separate sheet of paper in answering the exercises and tests. And
read the instructions carefully before performing each task.

If you have any questions in using this SLM or any difficulty in answering the
tasks in this module, do not hesitate to consult your teacher or facilitator.

Thank you.
 What I Need to Know

Learning Competencies
The learner:
1. describes the musical characteristics of representative music selections
from Mindanao after listening; MU7MN-IIIa-g1
2. analyzes the musical elements of some Mindanao vocal and instrumental
music; MU7MN-IIIa-g2
3. identifies the musical instruments and other sound sources of
representative music selections from Mindanao. MU7MN-IIIa- g3

Are you fond of singing different kind of music? Have you tried to sing foreign
songs? or are you an avid fan of Filipino songs?

This module will help you know and experience the different features and
characteristics of songs particularly that of the Mindanao music. Before you start
discovering what this module is all about, try to read its overview for you to know
what awaits you upon exploring this module.

Ready. Get set. Go! Let yourself be informed about this simple yet very
important concept about music.

Here in the Philippines, we usually listen to different OPM or Original Pilipino

Music. As we know, these are popular music (pop music) that our radio network
and television channels play every day. So popular these songs are popular that
even a 2-year-old child tries to sing its lyrics of these songs. Enjoyment beyond
expectation normally results to the Last Song Syndrome or LSS, which is evident
whenever we love a song and repeatedly sing its melody.

On the other hand, Genuine OPM is also an Original Pilipino Music but
unlike the first type, this one is not that popular. We rarely hear these songs being
performed on TV or radio. These songs are deeply rooted on the culture and tradition
of its composer. Every region in the country has its own Genuine OPM using their
own musical elements, which remains the same from the time of their ancestors until
the present time. This kind of music is created with the highest form of artistry; that
even professional musicians cannot write exactly its equivalent to western music.

One concrete example of this kind of music is the Islamic Music of Mindanao.
Our Muslim brothers were able to preserve their unique musical style from the time
Islam came to the Philippines until now. Scholars said that some of the Islamic music
were already existing before Islam came to Mindanao. Darangen, for example, is a
pre-Islamic art form which literally means to narrate in a song. This 72,000 - line
epic was awarded in 2005 UNESCO as one of the Masterpiece of the Oral and

1 CO_Q3_Music 7_ Module 1
Intangible Heritages of Humanity. In fact, this Maranao epic has been chosen among
90 proclamations by international organizations around the world which evidently
shows how rich Mindanao culture is!

This time, you will find out the enthralling music of Mindanao and this is what
this module has prepared for you!

Learning Objectives
After working on this module, you should be able to:
1. Identify the musical characteristics of Mindanao Islamic vocal music and its
relation to the cultural and geographical background of the region.
2. Distinguish the different musical elements found in the Islamic vocal music
of Mindanao
3. Compare the vocal music of Mindanao to the vocal music of the Luzon and
Visayas lowlands and other ethnic groups in the Philippines.

What I Know

You have almost reached the end of the module and you have explored so far
in this journey of exploration and discovery of insights from the concepts you
previously had. It is a good way to think that after all the challenging activities you
have answered, you can now have practical applications of concepts and skills.

This time, you are tasked to answer the following questions.

Directions: Read the questions carefully and choose the letter of the best answer.
Write your answers on your activity notebook.

1. Which of the following is NOT a characteristic of vocal music of Mindanao?

A. throaty sound C. fixed rhythm
B. melismatic singing D. uses tremolo

2. In Islamic music, the vocal aspect must overpower the instrumental. What
does the given statement mean?
A. Same volume for instrumental and vocal parts
B. More emphasis on the vocal parts than the instrumental part.
C. Musical accompaniment is required.
D. A full band must sing the song.

2 CO_Q3_Music 7_ Module 1
3. Why is Mindanao music different from Luzon and Visayas folksongs?
A. Because the Spaniards were not able to penetrate Mindanao during
their era.
B. Because Mindanao has a different set of instruments for their songs
C. Because most recording companies are situated in Luzon and Visayas.
D. Because their way of life is different.

4. Aside from rituals, which of the following is the other purpose of Islamic
music?
A. sports C. entertainment
B. education D. birthdays

5. The Paggabang are songs accompanied by a gabbang and byula. These songs
are also said to be less serious in nature. What Islamic music tradition speaks
of these practice?
A. The melismatic style of singing.
B. The vocal aspect must overpower the instrument.
C. The delicate patterns of melody and rhythm.
D. Songs for rituals must be sung in acapella while those for
entertainment requires a musical instrument.

6. Why is singing important to Islamic music?

A. Because it is a form of expression of ideas.
B. Because the singers can do their vocal exhibitions.
C. Because it is like talking to Allah.
D. Because they lack musical instruments.

7. Islamic vocal music requires improvisation. How must a singer apply this
characteristic when singing their native songs?
A. The singer must always sing the original tune.
B. The singer must always rely on the musical piece.
C. The singer’s voice must be versatile.
D. The singer can also be a composer.

8. Which of the following characteristics is present in the vocal music of Islamic

Mindanao?
A. the use of tremolo in singing.
B. the time signature.
C. a fixed ending for songs.
D. the observance of the instrumental accompaniment

9. What do you mean by Tausug?

A. Moro people C. People of Mindanao
B. Muslim people D. People of the current

3 CO_Q3_Music 7_ Module 1
10. The music of Mindanao has not changed for a very long time. What character
traits does this show?
A. The people of Mindanao are not open for changes.
B. The people of Mindanao are only patronizing what is from them.
C. The people of Mindanao value their culture and tradition.
D. The people of Mindanao are not open-minded people.

11. What kind of song is the Pangantin?

A. funeral C. baptism
B. birthday D. wedding

12. Which of the following songs can be accompanied by a musical instrument?

A. Lugu C. langkit
B. pangantin D. baat

13. Which of the following songs is usually performed by women in Mindanao?

A. Lugu C. baat
B. langan batabata D. sindil

14. Which of the following terms is used for epic legends?

A. Baat C. pangantin
B. kissa D. sindil

15. Which of the following songs is characterized by high vocal tension, slow
tempo long and sustained notes and melismatic and tremolo singing.
A. Pangantin C. langkit
B. kissa D. lugu

4 CO_Q3_Music 7_ Module 1
 Lesson
The Beauty and Elegance of the South
1 Vocal Music of Muslim Filipinos

What’s New

As you begin to embark on this learning module, don’t forget to remember the
most important concepts because these will surely be applied with full
understanding at the end of the lesson.

Let start by getting to know the music of our Muslim brothers and sisters.
Below is an illustration that shows different people. Now, your first task is to identify
who among them are Muslims.

Try to draw them in your activity notebook and let us see if you are able to
identify them correctly.

Were you able to find them? Well, it is obvious that you identified who among
the people in the illustration are Muslims. That is great job. Now, read the text below
so that you could have more understanding about them.

5 CO_Q3_Music 7_ Module 1
 Historians say that there are evidences of early
settlers in the southern part of the country as early as
prehistoric times. Arab traders from Malaysia and
Indonesia came in contact with the natives with their
products, culture and religion. In 1280, the first Muslim
community in the Philippines was established in Sulu
by Tuan Masha’ika. In the middle of 14th century, a
religious missionary in the name of Karim-ul-Makhdum
also came to Sulu. But, it was during the time of Rajah
Baginda (early 15th century) that Islam’s political aspect
was first introduced to the natives. The Sulu Sultanate
was established by his son-in-law Abu Bakar. However,
it was during the mid-15th century that Islam propagated to greater part of Mindanao
through the effort of Sharif Kabungsuan. The word Mindanao is coined after the
Maguindanaons who constituted the largest sultanate. The natives used this word
to refer to their island at that time.

When the Spaniards came to the Philippines, Islam was well established in
Mindanao, and they were not able to penetrate this Philippine region. That is why
until now they were able to preserve their culture, traditions and identity as people.

In the Philippines, 93% of the entire Islamic population resides in Mindanao.

Among this 93% are 13 ethno-linguistic groups situated in different places in the
region. These are the Jama Mapuns of Cagayan de Tawi-Tawi; the Iranons of
Cotabato; the Kaagans of Davao del Norte, Davao del Sur and Davao Oriental; the
Kalibugans of Zamboanga; the Maguindanaons of Maguindanao; the Maranaos of
Marawi; the Palawanons and Molbogs of Palawan; the Samas of Tawi-Tawi; the
Sangils of Sarangani; the Tausugs of Sulu; the Yakans of Basilan, and the Bangingis
of Tongkil and Zamboanga. Only five among this group can be found in Mainland
Mindanao. They are the Iranon, Kaagan, Kalibugan, Maranao and Maguindanao. The
Bangingis can be found in both mainland (Zamboanga) and island province Tongkil.
These ethno-linguistic groups may have different literary art forms but they are all
united to one culture - Muslim.

The table below shows the top ten provinces with the largest Muslim population.
Let us see how large their population is as well the percentage of the provinces’
population.

Muslim Population % of Province's

Province
(2010) Pop.
1. Sulu 706,229 98.32%
2. Tawi-Tawi 353,865 96.83%
3. Lanao del Sur 872,678 94.00%
4. Maguindanao 993,040 81.73%
(including Cotabato
City*)

6 CO_Q3_Music 7_ Module 1
 Muslim Population % of Province's
Province
(2010) Pop.
5. Basilan 311,004 79.56%
(including Isabela
City**)
6. Lanao del Norte 285,861 30.80%
7. Sultan Kudarat 209,917 28.13%
8. Cotabato 318,602 26.02%
9. Zamboanga del Sur 336,840 19.13%
10. Zamboanga 84,835 14.53%
Sibugay
Source: 2010 Census, NSO

So, have you noticed their differences when it comes to their percentage and
population? It seems that you are surprised how this happened, arent you? Most of
the people in Mindanao are composed of different Muslims. That is why, it is not
already a surprise why Mindanao is really a home of our Muslim brothers and sisters.

Now, let us find out more about them. Accomplish the given activity as presented
below.

Directions: Using the map below, locate the provinces mentioned in the table above.
Afterwards, answer the following questions below. In accomplishing this activity,
your facilitator will give you a copy of the map.

Processing questions:
1. In what part of the map do the majority of the provinces being located?
2. What do you think is the implication of this location to the preservation of
their culture and tradition?
3. In your opinion, in what way do these places share common good?

7 CO_Q3_Music 7_ Module 1
 What is It

You are now in the section where a lot of ideas and concepts are discussed.
As aforementioned, this module focuses on the Mindanao music based on its
characteristics, musical elements, culture and geography.

So, prepare yourself as you discover them one by one! Let us find out!

Islamic Music in general is characterized by delicate patterns of melody and

rhythm. To the Muslims, music is a vertical connection to Allah. That is why the
Quran must be recited in a singing-like manner. In Islamic music, the vocal aspect
must overmaster the instrumental. It is based on the skill of the artist which is given
the freedom to improvise the piece. Here, the performer also becomes a composer.
Using the traditional musical elements, the artist is encouraged to improvise with
the guidance of a specific emotional or philosophical foundations of the music.

One of the literary art forms of our Muslim brothers and sisters are their epics.
Epics are long, narrative poems telling about heroic deeds of significant characters.
In Muslim culture in Mindanao, the epics may be narrated in a form of a poem or
song. At present, only three of the 13 Muslim community groups have their epics
identified. This is because of the lack of informants or researchers because of peace
and order situation in some areas for research. The Bantugan and Darangen of the
Maranao or People of the Lake, the Indarapatra at Sulayman of Maguindanao or
People of the Flood Plains, and the Parang Sabil hi Abdulla iban hi Isara of the
Tausugs People of the Current.

Darangen
The Darangen is an epic song about Maranao people. The story, together with
the Qur’an , the central religious text of Islam, serves as a cultural foundation on
their community. Although it is used by a Muslim community, scholars said that
most of its content dates back before the arrival of the first Muslims in Mindanao.
Therefore, it is a mixture of both Islamic and non-Islamic way of life, and for the
Maranao people, this Anonen A Rawaten or The Way of the Ancestors is worth
imitating.

Only 18 out of 25 song cycles of the Darangen has been recorded and studied.
The epic deals not only about relationships and adventures but also ancestral
political laws like kingship and succession. Even today elders of the community still
refer to the text of the epic in dealing with various laws.

Literally this epic means “to narrate in song”. For this, it will require
specialized male and female performers a good memory, a skill to improvise, an
imaginative and creative mind, knowledge on customary laws and traditions, a good,

8 CO_Q3_Music 7_ Module 1
clear voice, and the ability to get the audience attention for long hours of
performance. Like most of our ethnic literary art forms, it is passed down from
generation to generation by oral tradition but some parts have ancient transcriptions
based on Arabic writing system.

An Onor plays the lead role in a Darangen performance. Her responsibilities

include singing the traditional songs, being a dancer, and playing the Kulintang, a
set of eight small gongs. She is also expected to portray the characteristics of a
Maranao princess, setting a royal standard for Maranao women. This epic is usually
performed in weddings and lasts up to several nights of performances.

Below is the link that you can use to listen to the Darangan Epic Song.
https://youtu.be/ROqbx9VptlA

Ballads
Most ballads (poem that tells a story) in Muslim Mindanao are religious and
historical. But would you believe that these two types of ballads are related to each
other? Religious because they talk about Islamic faith. Historical because they talk
about historical personality and their works - mostly to propagate or to defend the
Islamic faith. And like most of their literary art forms, they are handed down from
generation to generation by oral tradition. These art works are usually done in song
form and accompanied by instruments like the gabbang kulintang and byula.

Islamic Music retains its original form and style. There are two main uses of
Islamic music. The first one is for rituals and the other is for entertainment. Music
for rituals is mainly vocal with no instrumental accompaniment. Various Islamic
tribes still possess the same vocal music style like the ones used by their early
ancestors. Music with musical instruments attached to its performance are normally
for entertainment purposes only.

Tausug Vocal Music

The Tausug vocal music called the “Palangan” can be categorized into
narrative and lyrical songs. Narrative songs tell a story which include the Kissa or
epic legends and the lyric songs which both deal with their normal and daily way of
life. Lyric songs are also sub-categorized into Lugu and paggabang types. The lugu
is a religious chant usually done by women. This song is related to Muslim rituals
like wedding, funeral, birth, and the paggunting (traditional cutting of an infant boy’s
hair during baptism.) The lugu is characterized by high vocal tension, a slow tempo,
long and sustained notes, and with a tremolo at some parts of the phrase. Since this
type of song is for rituals, it is sung in acapella.

The paggabang, on the other hand, are songs usually accompanied by the
gabbang or bamboo xylophone and the byula or violin. These songs are less serious
in nature.

9 CO_Q3_Music 7_ Module 1
 Lyric songs consist of the langan bata-bata or Children’s song, the Baat or
occupational song. This form includes the Baat callaw or Funeral song which has a
very sad melodic line, pangantin or the wedding song which the newly-wed couple
dances while the singer or a modern band performs it. Traditionally, this song has a
soothing melody. Another example of the Baat is the song of fishermen or farmers
which has a happy melody.

Moreover, sindil is another form of vocal music. It is their local version of the
balagtasan wherein a man and a woman exchange ideas for a certain topic. It is
usually done in weddings.

Here are the links of the songs to further deepen your understanding about
the different types of vocal music, please visit the following YouTube links below for
the audio and video samples of the specific type of the songs.

1. Kissa https://youtu.be/K_dm_-f7Vik
2. Langan Batabata https://youtu.be/X_W4A6i4Ti4
3. Sindil https://youtu.be/Lut7EZzOduE
4. Liangkit https://youtu.be/FkiM14YlGNU
5. Luguh https://youtu.be/Nr7FIY3ePgY

Another forms of vocal music of Mindanao are the Diker or death song of
Maranao and the Dekil or Maguindanaon mournful song. All of these songs
regardless of its tribe of origin have some common characteristics:

1. Melismatic style of singing. Melisma means a group of notes sung in one

syllable of the text.
The following YouTube links will help you understand the melismatic style of
singing. Listen to these two songs as you answer the two questions below.
Write your answers on your activity notebook.
Queen of Melisma. (https://youtu.be/6qTnKl5yUFw)
Luguh (https://youtu.be/Nr7FIY3ePgY)
1.1. What are the commonalities of the two songs?
1.2. How does it differ from the Luzon and Visayas folk songs?
2. Use of tremolo (rapid reiteration of a single note). The tremolo produces a
musical effect which resembles a shaky sound of notes.
3. Long and slow melodic phrase. Unlike the regular song which has a fixed
meter or number of syllables for each line in stanza, these songs have
indefinite length of lines which results from the singer’s improvisation of the
tune of the song.
4. Strained or throaty voice. This style of singing is very common to ethnic
groups wherein the singer uses his/her speaking voice to execute the song.
5. Free rhythm. Vocal music of Mindanao uses the free rhythm style. It means
there are no fixed measures in the song. You cannot distinguish if the song
you are hearing is done in duple, triple or quadruple. And because the singer
has always the freedom to improvise the piece, one cannot predict the length
of each line of the song.

10 CO_Q3_Music 7_ Module 1
 What’s More

Congratulations! You have just finished knowing important concepts about

the lesson of this learning module. Do not forget that Mindanao Islamic vocal music
has very distinct characteristics that you cannot find in any other ethnic group in
the country.

This time, try to extract the most valuable details among the concepts that
you have learned about the Vocal Music of Muslim Filipinos. Below is a table that
you need to complete and accomplish. So, together, let’s do it.

Activity 1: Check the Music!

Directions: Compare the Sulu vocal music from various ethnic groups in the
Philippines through accomplishing the table below and find its distinct
characteristics from other music samples. Put a check mark on the corresponding
space where the musical element practices are observed. Please write your answers
on your activity notebook. Make sure to copy the table.

BONTOC PALAWAN
(Ifugao - MINDORO (Cuyunon - SULU
MUSICAL ELEMENT Hudhud) (Mangyan song) Kulial Ni Ligal) (Tausug - Lugu)
PRACTICES https://youtu.b https://youtu.b https://youtu.b https://youtu.b
e/H_INh21NMp e/bfN4qgWn_r0 e/QBNM8HtDzC e/Nr7FIY3ePgY
U Y

Long melodic phrases

Melismatic style of
singing
Throaty
Uses tremolo
Uses vocal harmony

Now, try to respond to the following questions below. Write your answers on
your activity notebook.

1. What performance practices are observed in the ethnic group samples? Write
them with their corresponding ethnic groups.
2. What performance practice is present only in Sulu ethnic group? How would
you describe its performance?

11 CO_Q3_Music 7_ Module 1
Activity 2: Ethnic vs Folk
Directions: Make an analysis of the vocal music of Mindanao and vocal music of the
lowlands of Luzon and Visayas then, write your observations for each element based
on the samples from the YouTube links provided. Copy and complete the table in
your activity notebook.

Luzon and Visayas samples:

1. Mabuhay singers Folk songs collection
https://youtu.be/T_OQNpyNcgY
2. Ili-ili Tulog Anay
https://youtu.be/reffH9YQzXk
3. Si Pilemon
https://youtu.be/irydqcYOY5c
4. Rosas Pandan
https://youtu.be/PU8gKA_LLsc

Mindanao samples:
1. Kissa https://youtu.be/K_dm_-f7Vik
2. Langan Batabata https://youtu.be/X_W4A6i4Ti4
3. Sindil https://youtu.be/Lut7EZzOduE
4. Luguh https://youtu.be/Nr7FIY3ePgY

LUZON AND VISAYAN

MUSICAL ELEMENT MINDANAO SAMPLE
SAMPLES
Melody
Tempo
Dynamics
Texture
Harmony
Meter

Please answer the following questions on your activity notebook.

1. Based on the samples, which element is the most obvious among the songs of
Mindanao?
2. How do these elements affect the overall sound of the song?
3. Are those elements also present in the songs from Luzon and Visayas? Why
do you say so?
4. How do the cultural, historical, and geographical backgrounds affect the
musical elements present in vocal music of Mindanao? Explain and cite
examples.
Cultural Background
Historical Background
Geographical Background

12 CO_Q3_Music 7_ Module 1
 Good Job! It seems that you had a wonderful time answering the activities
about the Vocal music of Mindanao. For sure, this had been really worth your while.
Indeed, you have shown great performance in the previous sections of this learning
module.

What I Have Learned

Now, for the record, treasure your experience through writing your most
valuable insights and reflections about the lesson discussed. This section will
determine how much you have learned from this learning module. Do your best and
write with understanding.

Write your reflection on your activity notebook.

My Reflections

______________________________________________________
______________________________________________________
______________________________________________________
______________________________________________________
______________________________________________________
______________________________________________________
______________________________________________________
______________________________________________________
______________________________________________________

13 CO_Q3_Music 7_ Module 1
 What I Can Do

You deserve a commendation for reaching the end of the module. You have just
proved that no matter what the challenging activities are, you can still answer those
with flying colors. Great job!

Lastly, enrich your learning through accomplishing this activity.

Activity 1: Sing Like, Sound Like

Directions: Using the Tausug lullaby lyrics, create your own tune and apply the
vocal elements of Islamic vocal music in your performance. Your teacher facilitator
will set the schedule for your face to face or online performance for this activity. The
rubrics below will guide you in the preparation of the song. Record a 1-minute
performances using your cellphone or other media devices and submit it to your
facilitator through messenger, e-mail or other media platforms.

Criteria 4 3 2 1
Voice The song was The song was The song was The song was
quality sung clearly clearly heard clearly heard not clearly
and 3 to 5 but only 1 or but the heard and the
elements were 2 elements elements were elements were
use. were used. not used. not used.
Creativity The tune was The tune was Other parts of The tune was
original and the original but the melody not original
manner of the manner were original and the
singing was as of singing and some were manner of
good as a was not good. not. singing was
genuine not good.
Tausug.
Mastery The song was The lyrics The performer The lyrics and
flawlessly were used a copy the tune were
performed memorized for the lyrics not memorized
(memorized but there but the tune (either sung
lyrics and tune were evident was mastered. without
and mistakes in There were mistakes but
performance the execution mistakes in with a copy or
elements were of the song. the without a copy
properly performance. but mistakes
executed.) were evident in
the
performance.)

14 CO_Q3_Music 7_ Module 1
 Assessment

Directions: Read the questions carefully and choose the letter of the best answer.
Write your answers on your activity notebook.

1. Which of the following is NOT a characteristic of vocal music of Mindanao?

A. throaty sound C. fixed rhythm
B. melismatic singing D. uses tremolo

2. In Islamic music, the vocal aspect must overpower the instrumental. What
does the given statement mean?
A. Same volume for instrumental and vocal parts
B. More emphasis on the vocal parts than the instrumental part.
C. Musical accompaniment is required.
D. A full band must sing the song.

3. Why is Mindanao music different from Luzon and Visayas folksongs?

A. Because the Spaniards were not able to penetrate Mindanao during
their era.
B. Because Mindanao has a different set of instruments for their songs
C. Because most recording companies are situated in Luzon and Visayas.
D. Because their way of life is different.

4. Aside from rituals, which of the following is the other purpose of Islamic
music?
A. sports C. entertainment
B. education D. birthdays

5. The Paggabang are songs accompanied by a gabbang and byula. These songs
are also said to be less serious in nature. What Islamic music tradition speaks
of these practice?
A. The melismatic style of singing.
B. The vocal aspect must overpower the instrument.
C. The delicate patterns of melody and rhythm.
D. Songs for rituals must be sung in acapella while those for
entertainment requires a musical instrument.

6. Why is singing important to Islamic music?

A. Because it is a form of expression of ideas.
B. Because the singers can do their vocal exhibitions.
C. Because it is like talking to Allah.
D. Because they lack musical instruments.

15 CO_Q3_Music 7_ Module 1
7. Islamic vocal music requires improvisation. How must a singer apply this
characteristic when singing their native songs?
A. The singer must always sing the original tune.
B. The singer must always rely on the musical piece.
C. The singer’s voice must be versatile.
D. The singer can also be a composer.

8. Which of the following characteristics is present in the vocal music of Islamic

Mindanao?
A. the use of tremolo in singing.
B. the time signature.
C. a fixed ending for songs.
D. the observance of the instrumental accompaniment

9. What do you mean by Tausug?

A. Moro people C. People of Mindanao
B. Muslim people D. People of the current

10. The music of Mindanao has not changed for a very long time. What character
traits does this show?
A. The people of Mindanao are not open for changes.
B. The people of Mindanao are only patronizing what is from them.
C. The people of Mindanao value their culture and tradition.
D. The people of Mindanao are not open-minded people.

11. What kind of song is the Pangantin?

A. funeral C. baptism
B. birthday D. wedding

12. Which of the following songs can be accompanied by a musical instrument?

A. Lugu C. langkit
B. pangantin D. baat

13. Which of the following songs is usually performed by women in Mindanao?

A. Lugu C. baat
B. langan batabata D. sindil

14. Which of the following terms is used for epic legends?

A. Baat C. pangantin
B. kissa D. sindil

15. Which of the following songs is characterized by high vocal tension, slow
tempo long and sustained notes and melismatic and tremolo singing.
A. Pangantin C. langkit
B. kissa D. lugu

16 CO_Q3_Music 7_ Module 1
 Additional Activities

Below is the lyrics of the song Itadyak by Maan Chua. For your reference about
the whole song please follow this link: https://youtu.be/ET2md07sGrA

Your task is to make an interpretation of the song through drawing.

Accomplish this activity on a sheet of bond paper.

Itadyak
- Maan Chua

Mindanao, Mindanao Lumingon sa mga yapak ng tribo

Mindanao, Mindanao Pakinggan mga pangaral nito
Itadyak ang mga paa Awitin mga himig ng kalikasan
Iwagayway ang mga kamay Sumabay sa indak ng kasaysayan
Papuri sa kalangitan, araw, buwan Itadyak ang mga paa
at kalikasan Iwagayway ang mga kamay
Itadyak ang mga paa Papuri sa kalangitan, araw, buwan at
Iwagayway ang mga kamay kalikasan
Papuri sa kalangitan, araw, buwan Itadyak ang mga paa
at kalikasan Iwagayway ang mga kamay
Hanapin ang bukal ng buhay Papuri sa kalangitan, araw, buwan at
Diligan ang lupang uhaw sa kalikasan
kaalaman Iguhit sa mga ulap ng kaisipan
Lumipad sa langit ng kamalayan Mga pahina't yugto ng nakaraan
Tuklasin ang tunay na kalayaan Damhin ang dugo na dumadaloy sa
Itadyak ang mga paa kaugatan
Iwagayway ang mga kamay Tungo sa ilog ng lupang kinagisnan
Papuri sa kalangitan, araw, buwan Itadyak ang mga paa
at kalikasan Iwagayway ang mga kamay
Itadyak ang mga paa Papuri sa kalangitan, araw, buwan at
Iwagayway ang mga kamay kalikasan
Papuri sa kalangitan, araw, buwan Itadyak ang mga paa
at kalikasan Iwagayway ang mga kamay
Mindanao, Mindanao, Mindanao Papuri sa kalangitan, araw, buwan at
Mindanao, Mindanao, Mindanao kalikasan
Itadyak ang mga paa
Iwagayway ang mga kamay
Papuri sa kalangitan, araw, buwan at
kalikasan

17 CO_Q3_Music 7_ Module 1
CO_Q3_Music 7_ Module 1 18
What I Know/
Assessment
1. B
2. B
3. A
4. C
5. D
6. C
7. D
8. A
9. D
10. C
11. D
12. C
13. A
14. B
15. D
Answer Key
References

Velasco, Faye. “Tausug Performing Arts.” Sulu Online Library, November 2, 2015.
https://tausugbyfvelasco.wordpress.com/performing-arts/.

“Mindano Music KOLINTANG TAGONGKO and KAPANIRONG.” seasite, n.d.

Accessed May 29, 2020
http://www.seasite.niu.edu/Tagalog/Mindanao_Culture/mindanao_music.h
tm.

Llames, Elmer. “Music of MIndanao (Islam and Non-Islam).” Slideshare.net,

February 15, 2015. Accessed May 29, 2020
https://www.slideshare.net/elmerllames/music-of-mindanao-islam-and-
nonislamppt-1-k12.

Ecla, Czarina Lynne S. “Tausug Culture.” Slideshare.net, January 12,

2012.Accessed May 30, 2020
https://www.slideshare.net/Shimi092811/tausug-
culture?next_slideshow=1.

Roger, Allen, and Amnon Shiloah. “Islamic Arts.” Encyclopedia Britanica, July 20,
1998.Accessed may 30, 2020 https://www.britannica.com/topic/Islamic-
arts.

Yusuf, Sami. “What Is Islamic Music.” The Muslim 500. Accessed May 29, 2020.
https://www.themuslim500.com/guest-contributions-2016/what-is-
islamic-music/.

Asain, Calbi A. “Folk Literature of the Muslim Cultural Communities.”

NCCA.gov.ph. GOV.PH.Accessed June 1, 2020. https://ncca.gov.ph/about-
ncca-3/subcommissions/subcommission-on-cultural-communities-and-
traditional-arts-sccta/central-cultural-communities/folk-literature-of-the-
muslim-cultural-communities/.

Rastrollo, R. “Darangen Epic of the Maranao People of Lake Lanao.” ich.unesco.org.

UNESCO, 2008.Accessed June 1, 2020
https://ich.unesco.org/en/RL/darangen-epic-of-the-maranao-people-of-
lake-lanao-00159.

19 CO_Q3_Music 7_ Module 1
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