7

Music
Quarter 3 – Module 6:
NON-ISLAMIC MUSIC
(Subanen-Lumad of Zamboanga)

CO_Q3_Music 7_ Module 6
Music – Grade 7
Alternative Delivery Mode
Quarter 3 – Module 6: Non-Islamic Music (Subanen-Lumad of Zamboanga)
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: Evangelina L. De Leon
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, Jhunness Bhaby A. Villalobos,
Nelson D. Ong, Jr.
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 6:
NON-ISLAMIC MUSIC
Subanen-Lumad of Zamboanga

i
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. identifies 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. explains the distinguishing characteristics of representative music selections
of Mindanao in relation to its culture and geography; MU7MN-IIIa-g3
4. improvises simple rhythmic/melodic accompaniments to selected music
from Mindanao; MU7LV-IIIc-h5
5. evaluates music selections and music performances applying knowledge of
musical elements and style; MU7LV-IIIb-h10
6. sings songs from Mindanao; MU7LV-IIId-h7

This module introduces you to Lumad music specifically the Subanen of

Zamboanga including its functions and distinct characteristics. You will also
discover how the Lumad tribes in Zamboanga express their feelings towards each
other and how their environment, their history, and their supernatural beliefs
through the medium of vocal and instrumental music relate to their way of living. A
variety of activities and performances such as improvisation and creations of
simple melodies and/or rhythmic pattern and the like, will be provided to stimulate
your creativity and resourcefulness. You will also analyze and evaluate
performances which will in turn, lead you to a greater understanding of the culture
and traditions of Lumads in Zamboanga. It is expected therefore that you will
undertake all the activity seriously and responsibly. Have fun and enjoy your
journey!

In the previous module you have learned the characteristic of vocal music,
representative music and/or repertoire and the performance practices from the
non-Islamic people (Christians) in Mindanao.

This time, a test is provided to assess the understanding you have acquired
on Christian music of Mindanao. Answer this on your activity notebook. Good luck!

1 CO_Q3_Music 7_ Module 6
Activity 1: Modified True or False
Direction: Read each statement carefully. Write TRUE if the statement is a
description of Christian music from Mindanao. However, change the underlined
word/s if the statement is incorrect. Do this on your activity notebook.

1. Chavacano is a Spanish-based creole language most associated with the

Zamboanga people.
2. Zamboanga people imbibed some of the American’s trait like celebrating
festivals/or fiestas.
3. No Te Vayas de Zamboanga is a Zamboangueno Spanish folk song written by
Juan Cuadrado Sr.
4. Gregorian chant, polyphonic masses and motets, and hymns are used in the
celebration of liturgy or masses.
5. Ecumenical music and services are performed in Spanish language and are
gradually changed and performed in their own vernacular language.

Today’s lesson will help you fully understand and appreciate the people of
Southern Philippines (Subanen-Lumad of Zamboanga), their traditions, as well as
their music as reflected in their culture, geography, and their way of living. Some of
these musical cultures are now regarded as highly vulnerable facing several
interrelated threats and constraints.

According to UNDP (United Nation Development Program), Philippines is

composed of 14 to 17 million indigenous peoples (IPs) belonging to 110
ethnolinguistic groups. Sixty-one percent of them are in Mindanao, 33% are
concentrated in the Cordillera region while the remaining percentage is found in
other regions of the country. The Lumads of Mindanao are the largest indigenous
group whose ancestors did not convert to Islam in pre- colonial times.

Lumad, a Bisayan term meaning “native” or “indigenous” are non-Muslim or

non-Christian Austronesian (family of languages spoken in most South East Asia)
people of Mindanao. The term is adopted and used to distinguish the ethnic
communities other than the Mindanaons, Moro or Christians. Its usage is accepted
in 1986 during the Cory Administration under R.A. 6734, which encompasses 15
groups like the Subanen, B’laan, Mandaya, Higaonon, Banwaon, Talaandig, Ubo,
Manobo, T’boli, Tiruray, Bagobo, Tagakaolo, Dibabawon, Manguangan, and
Mansaka. This tribe is generally known for tribal music produced by musical
instruments it created.

Economically, Lumads practiced swidden agriculture and little trade.

Communal sharing resources based on their belief of the sacredness of land and
nature as divine endowments define their relationship with their environments.
Considered as the “vulnerable groups”, they lived in hinterlands, lowlands,
forests, and coastal areas. They remained isolated and withdrawn from the hills
and forests that were difficult to penetrate. In 1997, the “Indigenous Peoples Right
Act” was enacted to protect the rights of the IPs and their ancestral domain.

2 CO_Q3_Music 7_ Module 6
 In particular, the Subanen
tribe is patriarchal with the family
as the basic unit of government.
At the village, there is no political
hierarchy as in the system of the
government. Timuay or gukom
meaning “head” or “leader” is a
traditional title for a communal
leader who acts as a village judge or
chief of conflicts referees between
community or confederate families.
Timuay connotes civil and religious
authority, and concerns for all communal matters to the title bearer. He is also an
expert in tribe’s traditional mores as well as their indigenous belief.

LEARNING OBJECTIVES
In this module, you will be travelling to the enchanting world of Subanen
music of Zamboanga people. You will be amazed of how their musical instruments
reflect their way of life and its relationship to nature, their cultural traditions and
geography. Through the lesson, you will also discover how the Subanen of
Zamboanga expresses their feelings towards each other in the family community,
their environment, their history, and their supernatural beliefs through the
medium of the different rituals and instrumental music.

Moreover, at the end of this lesson, you are expected to:

A. Recognize and explain the musical characteristics uniquely expressed in the
Lumad (Subanen) music of Zamboanga after listening.
B. Determine the distinct characteristics of Lumad (Subanen) music of
Zamboanga in relation to culture and geography.
C. Create and perform simple melodic accompaniment applying the elements
and characteristics of music unique to Lumad’s (Subanen)of Zamboanga.
D. Appraise one’s performances by taking into considerations the elements and
characteristics distinct to the Music of Lumads (Subanen) in Zamboanga.

3 CO_Q3_Music 7_ Module 6
 What I Know

Directions: Read the questions carefully. Identify what is being asked in each item.
Write the answers on your activity notebook.

1. How are the Subanen (Lumad) people described?

A. They are the non-Islamic settlers of Zamboanga peninsula.
B. They are among the Islamic people of Mindanao.
C. They are the migrants from other region of the country.
D. They are the indigenous people of Palawan.

2. Where did the word Subanen originate?

A. It came from the word “banen”which means coastal people.
B. It came from the word “suba” which means river.
C. It came from the word “sunen” which means mountain and forest.
D. It came from the word “suben” which means tribe.

3. Which of the following group is NOT included in Subanen musical

instruments?
A. Durugan, Gagong and g’lantoy
B. Agong, kulintang, dabakan
C. Agum , Guimbao, Kubing
D. Kutyapi, suling, gabbang

4. How is gagung sua described?

A. It is an agung ensemble.
B. It is made up of five hollow bossed gongs of graduating sizes.
C. It is a part of kawatingan ensemble.
D. Both A and B.

5. The following are among the functions of Subanen music EXCEPT one.
Which of these?
A. It is performed during birth ceremony.
B. It is performed as homage to the patron spirit of the place.
C. It is performed as agricultural ritual and wedding ceremonies.
D. It is a celebration of greatness.

6. Why is the Buklog ritual dance of the Subanen celebrated?

A. To pray for the bountiful harvest throughout the year
B. To pay veneration to the god of the land
C. To pray for good success
D. Both A and B.

4 CO_Q3_Music 7_ Module 6
7. Which of the following instruments are used to accompany Subanen ritual
dances?
A. Drums and flutes
B. Drums and gongs
C. Gongs and kulintang
D. Kutyapi and Durugan

8. Which of the following signaled the upcoming celebrations of Buklog?

A. The drums are sounded every morning a week before the celebration.
B. The balian sings and pours wine on the earth a day before the
celebration.
C. The agung is constantly being played a week before the celebration.
D. The Timuay dances the traditional Subanen dance.

9. How is Buwa described?

A. It is a love song.
B. It is a lullaby song.
C. It is a funeral song.
D. It is a courtship song

10. Which of the following ritual dances utilizes swing, a representation of

mythical vessel used to travel?
A. Sinalimba
B. Gukas
C. Pangalitao
D. Buklog

11. What is gagonapu?

A. It is a working song referring to hunting and fishing.
B. It is a working song referring to mining.
C. It is a victory song for a bountiful harvest.
D. Both A and B

12. How is giloy described?

A. It is a ritual dance for dead people of the tribe.
B. It is a funeral song for a dead chieftain.
C. It is a musical ensemble.
D. It is a song for a wedding ceremony.

13. What are the common features or stories of the chanted epic of the Subanen
tribe?
A. It features Diwata and myth.
B. It features legendary heroes and chief.
C. It features the history of the tribe.
D. Both A and B

5 CO_Q3_Music 7_ Module 6
 14. The following are examples of the chanted epic of the Subanen tribe
EXCEPT:
A. Ag Tobeg nog Keboklagan
B. The Guman of Dumalinao
C. The Biag og Lam-ang
D. Keg Sumba ne Sandayo

15. How is segaron described?

A. It is used as the lead instrument of the ensemble.
B. It is the smallest gong with a lower pitch.
C. It is a log beaten drum.
D. It is a lip valley flute.

Lesson
Non-Islamic Music:
1 Subanen-Lumad of Zamboanga

What’s New

Welcome to the first part of your lesson on vocal and instrumental music of
Subanen people of Zamboanga. Various activities and challenges are on the way for
you to uncover your previous understanding and knowledge of the lesson. Be
reminded that you must accomplish all the activities before going to the next stage.
Are you ready? You may now begin your search here. Feel free and have fun!

Activity 1: Agree or Disagree?

How are you familiar with the vocal and instrumental music of Subanen –
Lumad? Have you ever watched videos of their performances? Have you seen
performances of indigenous people? This task will activate your prior knowledge
about vocal and instrumental music of the Subanen (Lumad) of Zamboanga. Feel
free to take the challenge and check how familiar you are with their traditional
music.

6 CO_Q3_Music 7_ Module 6
DIRECTIONS: Carefully read the sentences below. Write AGREE if you think the
following are descriptions of the music of the non-Islamic groups (Subanen-Lumad)
of Zamboanga and DISAGREE if you do not. After it, answer the processing
questions that follow. Do this on your activity notebook.

1. Gagonapu is a work song of the Subanen referring to fishing and hunting.

2. Subanen music is often performed in different social events including
agricultural rituals and wedding ceremonies.
3. The g’lantoy or thulali is a ring flute of the Subanun (Sindingan Zamboanga
del Norte). It has three finger holes- one on the underside and the two on the
opposite side.
4. Durugan is a hollow log beaten like drums and used to accompany dances.
5. Thumping is a type of flute with a V-shape duct cut on the edge of the
mouthpiece and is covered by a piece of wood and glued into the duct with
hardened wax from the house bee.
6. Sigitan is used to accompany a dance or to express human sentiments of
love, sorrow, sadness, or joy.
7. Gagong is a single brass gong sounded a week before the celebration of
buklog.
8. Gagung Sua is an agung ensemble (large hanging, suspended or held
knobbed gongs) which act as a drone without any accompanying melodic
instruments.
9. Drums and gongs are used to accompany ritual dances like Pangalitao,
courting dance and gukas, ritual ceremony for the dead chieftain.
10. Subanen vocal music includes singing several types of song like Dionli – love
songs and singing or chanting of epics.

Processing questions:
1. What are the vocal and instrumental music of the Subanen-Lumad?
2. What are the characteristics of non-Islamic music (Lumad) in relation to
their culture?
3. What did you observe about their vocal and musical instruments? Is there a
relationship with their culture and place of settlements?
4. In two to three sentences make a summary of your realizations about the
vocal and instrumental music of the Subanen (Lumad).

7 CO_Q3_Music 7_ Module 6
Activity 2: Write Me A Message!
Directions: On your activity notebook, write a message to a friend about your
prior knowledge, discoveries, or insights regarding vocal and instrumental music of
the Lumad (Subanen) of Zamboanga. Take into consideration its relationship to
environment and spiritual world, and its unique characteristics. You may also draw
or paste picture related to it to make your letter more appealing and interesting.
Do not forget to answer the questions that follow.

A letter to My Friend

Date: ___________

Dear ____________,

__________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
________________________________________________________.

Truly Yours,

______________________

Processing Questions:
1. How did you find the activity? Why did you feel this way?
2. Cite a brief comparison of the music of the Lumad (Subanen of Mindanao)
to the Islamic (Muslim) music discussed in Module 3 and 4.
3. What conclusion can you draw from the message you have written with
regards to music of the Lumads’ (Subanen) of Zamboanga?

Are you now ready to enjoy and be challenged by the next lesson? This time
you will explore the other side of the rich cultural heritage of the Subanen
(Lumads) of Zamboanga, mainly their vocal and instrumental music. Fasten your
seatbelt, soar high and let us learn more about it!

8 CO_Q3_Music 7_ Module 6
 What is It

This part of the module will help you understand the distinct characteristic
of the folk music of Lumad (Subanen) of Zamboanga, their cultural practices and
some of their musical instruments. A lecture/discussion on this topic is provided
for you to gain profound knowledge and understanding about their musical
traditions. Different activities are provided to enhance your skills, and talents.
Carefully read the lecture and be ready to take the challenge by answering the
questions that will assess your learning.

READ AND ENRICH YOUR UNDERSTANDING

The Folk Music of Subanen (Lumad of Zamboanga)

The Subanen (Lumads) People

The Subanen is a group of Lumads or

non-Muslim indigenous cultural
community in Mindanao. They are the first
settlers of Zamboanga peninsula who are
also known as Subanen or Subanun, taken
from the word “suba”, a Bisayan word
meaning river, from which they distinguish
themselves from their roots or origin. They
are slash-and-burn farmers, as most of
their settlements are near river or
mountain streams who fish, hunts, gather,
Subanen playing kudyapi
and practice little trade.

This cultural group originally lives in low-lying areas and once roamed the
seas in great numbers. However, they have been pushed to the hinterlands,
mountains and forest upon the arrival of Muslims who often attack the group to
collect taxes and capture slaves, by the Spaniards in the 16th century, and with the
migration of the different groups of people in the area. The destruction of the
forests, the building of the towns and cities, and the efforts of the lowland majority
of people to assimilate them into Christian culture, forced the Subanen community
to struggle in protecting their ancestral domain and cultural identity.

The tribe embraces no religion although it is believed that they have

scripture at one time. They believe in the supreme being called “Diwata Migbebaya”
and in spirits that are part of nature. The spirit and gods are said to inhabit the
most striking features of nature such as the unusual large trees, the balancing
large rock in small bases, the oddly shaped mounds of earth, the isolated caves and
the very high peaks.

9 CO_Q3_Music 7_ Module 6
Subanen Music

1. Traditional Musical Instruments include:

Gagong – single brass gong

Subanen man playing Gagong

Durugan – hollow logs beaten like

drums

Subanen tribe playing Durugan

g’lantoy or thulali – is the ring flute of the Subanun (Sindingan Zamboanga del
Norte). It has three finger holes- one on the underside and the two on the opposite
side. This flute is played by both men and women mainly for entertainment. The
melodies express different sentiments—love, joy, grief—or imitate sounds of birds
and insects. It is often used to lull babies to sleep.

g’lantoy / thulali

10 CO_Q3_Music 7_ Module 6
Thumping – is another type of flute with a
V-shape duct cut on the edge of the
mouthpiece and is covered by a piece of
wood and glued into the duct with
hardened wax from the house bee. The
flute has five or six holes, all situated on
the frontal side of the tube. It is played
mostly by women for self-entertainment,
usually heard in the early morning, early
evening or while keeping over the rice field.

Thumping

Kubing or the Jaw’s harp – made

from bamboo either plain or with
more ornate designs dye-painted on
the handles with accompanying
Kubing bamboo containers.

Sigitan – is a five-string-polychordal tube

zithers made from bamboo tubes which is
closed on both ends by nodes with a small
opening for resonance. It is played by
plucking the strings by the player and by
tapping the body of the instrument with
two bamboo sticks by another player to
Sigitan
produce drone. It is used to accompany a
dance or to express human sentiments of
love, sorrow, sadness, or joy.

Subanun tabobok, thambabok – is a parallel stringed tube zither made from a

heavy bamboo tube closed at both ends with a node. The upper node has opening
which the player covers or uncovers while performing. They play this instrument
mainly for self-entertainment and relaxation.

Subanun tabobok, thambabok

11 CO_Q3_Music 7_ Module 6
2. Subanen has a musical ensemble same with the Tiruray Karatun.

Gagung Sua – is an agung ensemble (large hanging, suspended or held knobbed

gongs which act as a drone (continuous musical note of low pitch) without any
accompanying melodic instruments like kulintang) same with the Tiruray
Karatung. It is made up of five shallow bossed gongs of graduating size, each
played by one person. The smallest, the segaron (high pitched) is used as the
lead instrument providing a steady beat.

Gagung Sua Subanen tribe playing Gagung Sua

3. Subanen music are often performed in different social events including:

a. agricultural rituals
b. wedding ceremonies
c. victory celebrations
d. curing rites
e. rituals for the dead
f. entertainment for visitors
g. other community rituals.

4. Drums and gongs are used to accompany ritual dances like:

a. Pangalitao -is a courtship dance.

It is played with courtship songs
and is performed with an
accompaniment of traditional
instruments.

12 CO_Q3_Music 7_ Module 6
 b. Sinalimba - a dance that
utilizes swing, a representation
of a mythical vessel used to
travel.

c. Buklog - is a thanksgiving
ritual performed at the start of
planting and harvesting
season to pray for the
bountiful harvest throughout
the year. It is also a
thanksgiving festival among
the Subanen involving several
rituals. This is conducted to
express gratitude to the spirits
ensuring harmony among
family, clan, and community
members, as well as among
the human, the natural and
the spirit world.

The ritual includes dancing, to mark the renewal of relationship in the

community on an elevated wooden structure called “Buklog” – a sacred and
social space which resonate with a sound believe to please the spirits. They
include asking permission to the spirits to gather material from the forest,
presenting coin offerings, inviting spirits of the departed to feast, invoking
spirits of water and land and music and dance. A constant sound of an agung
or a single brass gong is produced a week prior to the celebration to signify the
upcoming buklog.

d. gukas - a ritual ceremony performed as a memorial for the death of a tribal

chief. It is accompanied by ritual offerings of bottled drinks, canned milk,
chocolate, margarine, sardines, grilled fish, chicken, and pork. The songs begin
inside the house by the balian.

13 CO_Q3_Music 7_ Module 6
5. Subanen vocal music includes singing several types of song and chanting of
epics.

A. Several types of song:

1. Dionli – love songs
2. Buwa – lullaby songs
3. Giloy – funeral song for dead chieftains. This is usually sung by two
singers, one of which is a balian (who is believed to be able to visit the
heavenly) during gukas. The balian and his assistant usually bring a
bottle of pangasi (rice wine) and pour it to the earth to be followed by
singing inside the house.
4. Inadung – the elders’ way of conversing when having a visitor from
another area, discussing matters with their children, when a maiden and
a young man are given to marriage and people are drinking rice wine.
5. Gagonapu – work song referring to fishing and hunting.

B. Singing/chanting of epics
Epics feature Diwata, as well as myths, legendary heroes and chiefs
who are partly divine and are told that it took one night to complete the
story. Epics chanters must have strong memory and strong voice,
pronouncing some syllables meaninglessly, giving them the tone and
duration of the recital.

Examples of Subanen epics are:

a. The Guman of Dumalinao – tells about Datu Pomb’nwa, his wife
Bayslaga and their young daughter who were drowned in the rivers, and
their sons venturing out in search of them but failed to return. The
guman ends with the return of the missing children. A traditional
“buklog” or feast is held to celebrate the union of the two kingdoms.

https://www.kapitbisig.com/philippines/english-version-of-epics-mga-
epiko-the-guman-of-dumalinao-of-the-suban-on-tribe-of-northwestern-
mindanao_1191.html

b. Ag Tobig nog Keboklagan (Keboklagan kingdom) – contains 7590 verses

which tells about the dream seen by Datu Tomitib Manon fighting alone
in Keboklagan kingdom.

https://www.kapitbisig.com/philippines/english-version-of-epics-mga-
epiko-the-kingdom-of-keboklagan-of-the-suban-on-tribe-of-northwestern-
mindanao_1192.html

c. Keg Sumba neg Sandayo (The Tale of Sandayo) – has 6577 verses. The
story is about a young Datu who was born with outstanding feature that
made him unique among other Datus. It also depicts his adventures and
misadventures in life.

https://jcrispino.carbonmade.com/projects/3878542

14 CO_Q3_Music 7_ Module 6
 Now that you are done exploring the characteristics of the vocal and
instrumental music of the Subanen as well as their examples, it is now time to
validate your understanding through various activities and performances. What are
you waiting for? Go now and move on to the next level! Good luck!

Activity 3: Fill Me Up!

Direction: Below is a “Human Image Reflector” that aims to determine what you
have realized towards learning, the things that you have discovered, and the things
you have learned (the knowledge that serves as your foundation to stand and keep
you going). Copy the illustration below and fill each part. Do this on your activity
notebook.

Processing questions:
1. How did you find the activity? Why did you feel that way?
2. What is instrumental music? A vocal music?
3. How does music relate to the culture, nature and place of settlements of the
Subanen?
4. Do you have similar instruments to those discussed in this module? If yes,
what is it? If none, do you plan to have one next time? Why?
5. What can you say about the music of Subanen?

15 CO_Q3_Music 7_ Module 6
Activity 4: MEMORY CHECK!
Let us see if you really understood the lecture about Subanen instrumental
music. This time, your knowledge will be assessed on the different vocal and
musical instrument of the Subanon (Lumads) of Zamboanga including the cultural
tradition from which it is derived.

Direction: Arrange the letters to reveal the concept. A short description is given
after the disarranged letters to facilitate easy recognition and recall. After it, answer
the processing questions that follow. Do this on your activity notebook.

1. GOGNAG ____________ a single brass gong

2. SAKUG _____________ceremony in memory to the death of the tribal chief
3. GOLKUB ____________thanksgiving ritual at the start of planting and harvest
4. NORAGES ___________ smallest and high- pitched gong in the ensemble
5. OTALIGANAP _________courting dance
6. UPANOGAG __________work song specifically for fishing and hunting
7. NAGURUD ___________hollow logs beaten like drum
8. NGUGAG ASU ________an ensemble composed of five shallow bossed-gong.
9. ABMILANIS __________ a representation of a mythical vessel
10. AWUB ____________ a lullaby song

Processing questions:
1. What are the distinct characteristics of Subanen music?
2. How would you describe the music of the Subanen (Lumads) of Zamboanga?
3. How does Subanen music relate to the way of life of the people as time
passes?
4. In what way does music reflect the cultural tradition of the Subanen
(Lumads) of Zamboanga?

What’s More

In this phase you will apply the insights and learning about the unique
characteristics of music and traditional/cultural practices of the Subanen (Lumad)
of Zamboanga as reflected in their music. Try to embrace their musical culture and
traditions for a moment and explore the simplicity yet enchanting music of the
place. Feel free to undertake the activity and enhance your imagination as you
apply, analyze, and evaluate their music.

16 CO_Q3_Music 7_ Module 6
Activity 5: Unleash My Music
Now try to open the link below where you can watch and listen how the
music of the Subanen (Lumads) of Zamboanga is performed. Evaluate their
performances as to the use of various elements of music to reveal their feelings and
emotions. Focus your attention also on the techniques used by the musician and
how he relates himself to the music. Write your observations, reactions and
evaluation regarding the use of elements of music in their performances on your
notebook. Do not forget to answer the questions that follow.

Observations / Analysis
Musical Buklog (Thanksgiving ritual Subanen Dance
elements https://www.youtube.com/wa https://www.youtube.com/watch?v
tch?v=e-T2Suod5RE =obC-Pzf8Sfs

Melody

Rhythm

Timbre

Tempo

Feedback /
Evaluation

Processing Questions:
1. What instruments are used in the musical video? What are they made off?
2. How are the music performed?
3. How are the varied musical elements used in bringing about the message of
the music?
4. If given a chance, would you like to perform one of their traditional
music/performances? Why?
5. In three sentences, write a summary of your observations.

17 CO_Q3_Music 7_ Module 6
Activity 6: Play My Music
Direction: In this activity, you are going to apply your understanding of
Subanen music. Imitate the playing of some representative musical instruments of
the Subanen using any of the local materials that can be found within your
community. You may also incorporate melodic accompaniment and some
movements as you play the instruments. Make sure to apply the elements and
characteristics of Subanen music while performing yours. Record your
performances using your cellphone or other media devises and submit it to your
facilitator through messenger, e-mail or other media platforms. Please refer to the
link below for your reference.

Subanen Courtship Dance

https://www.youtube.com/watch?v=cntM_zrmrI4

Performance Rubrics

Scores
Criteria
5 4 3
Rhythm The entire The entire The performance is
performance performance has evidently not in
appropriately 1-2 lapses in the conformity with
follows the correct rhythm and style rhythm and style of
rhythm and style of of the Subanen the Subanen
the Subanen performers. performers.
performers.
Movements The movements are Some of the Inappropriate
appropriate to the movements do not movements are used
rhythm. conform to the
rhythm.
Aesthetic All the The music The music includes
Appeal characteristics of includes most of only 1-2 elements and
the Subanen music the elements and characteristics of
are evident. The characteristics of Subanen music. Some
movements also Subanen music. of the movements do
compliment the Almost all the not compliment the
music. movements music.
compliment the
music.

18 CO_Q3_Music 7_ Module 6
Activity 7: Complete Me
Direction: Now that you have learned all the concepts about instrumental and vocal
music and how it reflects the culture and tradition of the place, it is now your turn
to write it out. Complete the open-ended statement by providing the appropriate
concepts needed.

1. I learned that Subanen music is composed of ________________________.

2. I realized that the following are the distinct characteristics of Subanen music
like _____________________________________.
3. I conclude that __________________________.
4. As an act of my appreciation I will _________________________________.

What I Have Learned

My Reflections

______________________________________________________
______________________________________________________
______________________________________________________
______________________________________________________
______________________________________________________
______________________________________________________
______________________________________________________
______________________________________________________
______________________________________________________

19 CO_Q3_Music 7_ Module 6
 What I Can Do

In this phase, you will improvise, create, and perform a musical composition
with simple rhythmic patterns of your own through an exciting activity. This will
help you develop your awareness and appreciation of music from non-Islamic
people of Mindanao.

Activity 8. SOUND EXPLORATION

Directions: Create a simple melodic accompaniment and/or instrumental
music simulating the rhythm of Subanen music used in any of the following
performances (wedding ceremony, funeral rites or religious ceremony, courtship,
lullaby or working song). Improvise musical instrument or use any instrument
similar to the sounds of the Subanen musical instrument like gagung, durugan,
drums, etc. as an accompaniment. Record your performances using your cellphone
or other media devices and submit it to your facilitator through messenger, e-mail
or other media platforms. Ask feedback for improvement.

Performance Rubrics

Category 5 4 3
The The
Materials Only bare hands
materials/instruments materials/instruments
used are used in the
used are specified in used are not specified
(Timbre) performance.
the direction. in the direction.
There are less than 3 Rhythmic patterns
Rhythmic There are no errors in
errors in the rhythmic are mostly
Pattern the rhythmic pattern.
pattern. incorrect.
There is an
There is a focused and unfocused tone,
There is a focused and
Sound clear tone in some unstable pitch and
clear tone throughout
Quality part of the inconsistent
the performance.
performance dynamics in the
performance.
There is no
Specific Performance Performance practices evidence of
Overall practices are evident are sometimes evident performance
performance in the production of in the production of practices in the
sounds. sounds. production of
sounds.

20 CO_Q3_Music 7_ Module 6
 Assessment

Directions: Read the questions carefully. Identify what is being asked in each item.
Write the answers on your activity notebook.

1. How are the Subanen (Lumad) people described?

A. They are the non-Islamic settlers of Zamboanga peninsula.
B. They are among the Islamic people of Mindanao.
C. They are the migrants from other region of the country.
D. They are the indigenous people of Palawan.

2. Where did the word Subanen originate?

A. It came from the word “banen”which means coastal people.
B. It came from the word “suba” which means river.
C. It came from the word “sunen” which means mountain and forest.
D. It came from the word “suben” which means tribe.

3. Which of the following group is NOT included in Subanen musical

instruments?
A. Durugan, Gagong and g’lantoy
B. Agong, kulintang, dabakan
C. Agum , Guimbao, Kubing
D. Kutyapi, suling, gabbang

4. How is gagung sua described?

A. It is an agung ensemble.
B. It is made up of five hollow bossed gongs of graduating sizes.
C. It is a part of kawatingan ensemble.
D. Both A and B.

5. The following are among the functions of Subanen music EXCEPT one.
Which of these?
A. It is performed during birth ceremony.
B. It is performed as homage to the patron spirit of the place.
C. It is performed as agricultural ritual and wedding ceremonies.
D. It is a celebration of greatness.

6. Why is the Buklog ritual dance of the Subanen celebrated?

A. To pray for the bountiful harvest throughout the year
B. To pay veneration to the god of the land
C. To pray for good success
D. Both A and B.

21 CO_Q3_Music 7_ Module 6
7. Which of the following instruments are used to accompany Subanen ritual
dances?
A. Drums and flutes
B. Drums and gongs
C. Gongs and kulintang
D. Kutyapi and Durugan

8. Which of the following signaled the upcoming celebrations of Buklog?

A. The drums are sounded every morning a week before the celebration.
B. The balian sings and pours wine on the earth a day before the
celebration.
C. The agung is constantly being played a week before the celebration.
D. The Timuay dances the traditional Subanen dance.

9. How is Buwa described?

A. It is a love song.
B. It is a lullaby song.
C. It is a funeral song.
D. It is a courtship song

10. Which of the following ritual dances utilizes swing, a representation of

mythical vessel used to travel?
A. Sinalimba
B. Gukas
C. Pangalitao
D. Buklog

11. What is gagonapu?

A. It is a working song referring to hunting and fishing.
B. It is a working song referring to mining.
C. It is a victory song for a bountiful harvest.
D. Both A and B

12. How is giloy described?

A. It is a ritual dance for dead people of the tribe.
B. It is a funeral song for a dead chieftain.
C. It is a musical ensemble.
D. It is a song for a wedding ceremony.

13. What are the common features or stories of the chanted epic of the Subanen
tribe?
A. It features Diwata and myth.
B. It features legendary heroes and chief.
C. It features the history of the tribe.
D. Both A and B

22 CO_Q3_Music 7_ Module 6
 14. The following are examples of the chanted epic of the Subanen tribe
EXCEPT:
A. Ag Tobeg nog Keboklagan
B. The Guman of Dumalinao
C. The Biag og Lam-ang
D. Keg Sumba ne Sandayo

15. How is segaron described?

A. It is used as the lead instrument of the ensemble.
B. It is the smallest gong with a lower pitch.
C. It is a log beaten drum.
D. It is a lip valley flute.

Additional Activities

FILL MY SHAPE!
Directions: Copy the graphic organizer and fill out the shapes with appropriate
concepts regarding the vocal music of Lumad Subanen of Zamboanga. On the oval
shape write the kind or type of music of the Lumad Subanen while on the squares
give examples of each types of music. On the rectangle, enumerate the unique
characteristics of Lumad Subanen vocal music. Do this in your activity notebook.
Submit your output to your facilitator through messenger, e-mail, or other media
platforms.

1.
2.
1. 3. 1.
2.
1.
2. 3.
2.
LUMAD 3. 4.
SUBANEN
MUSIC 5.
3. 1. 6.
2.
7.
3.

4.
1.
2.
3.

23 CO_Q3_Music 7_ Module 6
CO_Q3_Music 7_ Module 6 24
What’s New What is it? What I Know/
Activity 1: Activity 4: Assessment
Agree/Disagree Memory Check 1. A
2. B
1. Agree 1. Gagung
3. C
2. Agree 2. Gukas
4. C
3. Agree 3. Buklog
5. B
4. Agree 4. Segaron
6. A
5. Agree 5. Pangalitao
7. B
6. Agree 6. Gagonapu
8. C
7. Agree 7. Durugan
9. B
8. Agree 8. Gagung Sua 10. A
9. Agree 9. Sinalimba 11. A
10. Agree 10.Buwa 12. B
13. C
14. C
15. A
Answer Key
References
Corazon Dioquino “Philippine Bamboo Instruents” Humaities Diliman Vol5, no 182
s. 2008.
https://journals.upd.edu.ph/index.php/humanitiesdiliman/article/view/14
84
“Buklog, thanksgiving ritual system of the Subanen” 2019, UNESCO Intangible
Cultural Heritage, Nomination file No. 01495
“The Sulu Cultural Village” Mark Henry, Published on December 10, 2019, YouTube
Video 9:22, https://www.youtube.com/watch?v=e-T2Suod5RE
“Subanen Dances” Vaintanna, Published on May 13, 2013, YouTube Video 0:15,
https://www.youtube.com/watch?v=obC-Pzf8Sfs
“Lumad” Wikipedia. https://en.wikipedia.org/wiki/Lumad
Faina Ulindang, “Lumad in Mindanao” National Comission on Culture and the Arts,
GOVPH https://ncca.gov.ph/about-ncca-
3/subcommissions/subcommission-on-cultural-heritagesch/historical-
research/lumad-in-mindanao/
Ronica Valdeavilla, “A Guide to the Indigenous Tribes of the Philippines”. Posted
April 25, 2018, Culture Trip
https://theculturetrip.com/asia/philippines/articles/a-guide-to-the-
indigenous-tribes-of-the-philippines/
“The Lumad of Mindanao” On Philippine History and Culture. Filipinas Library
copyrighted 2018. https://www.filipinaslibrary.org.ph/articles/the-lumad-
of-mindanao/
Phillip Dominguez Mercurio “Exhibit: Traditional Music of the Southern
Philippines: ETHS 545” Edition 3, Copyright 2005, 2006, 2007.
Pnoyandthecity, http://pnoyandthecity.blogspot.com/
Ruelo Baya, “The Riverine People of Mindanao”. National Commission on Culture
and the Arts. GOVPH https://ncca.gov.ph/about-ncca-
3/subcommissions/subcommission-on-cultural-communities-and-
traditional-arts-sccta/central-cultural-communities/the-riverine-people-of-
mindanao/
“The Subanen People of Mindanao” Ethnic Groups Philippines
http://www.ethnicgroupsphilippines.com/2016/03/21/the-subanen-
people-of-mindanao/
“The Guman of Dumalinao (of the Suban-on tribe of Northwestern Mindanao)” Kapit
Bisig, https://www.kapitbisig.com/philippines/english-version-of-epics-
mga-epiko-the-guman-of-dumalinao-of-the-suban-on-tribe-of-northwestern-
mindanao_1191.html
J Crispino “Tale of Sandayo” J Crispino on CarbonMade published 2011
https://jcrispino.carbonmade.com/projects/3878542/11187239
“Ancestral Land” Central Subannen https://centralsubanen.com/en/cadt-area
“AkbayanSJSU PCN25” Vaintanna, Published on May 13, 2013, YouTube Video
0:15, https://www.youtube.com/watch?v=obC-Pzf8Sfs

25 CO_Q3_Music 7_ Module 6
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