MUSIC 7

Quarter 3
Week 1
EXPLORING MUSIC OF MINDANAO

Margarita K. Yusingco
National High School

Development and Quality Assurance Team

Developer: Aniceto A. Buniel

Evaluator: Melissa P. Arreza
Jane Rose S. Mordeno
Aurio A. Arayani
Management Team: Leopardo P. Cortes Jr.

Illustration Credits:
Title Page Art: Marieto Cleben V. Lozada
Title Page Graphics: Bryan L. Arreo
Visual Cues Art: Ivin Mae M. Ambos

Competency:

Disclaimer: This Learning Activity Sheet (LAS) is based from the Learner’s Materials, Textbooks and Teaching Guides released by DepEd
Central Office. Furthermore, utilization of duly acknowledged external resources is purely of non-profit, for educational use and constitutes
fair use. All Rights Reserved.
 1. Describes the musical characteristics of representative music selections from
Mindanao after listening. (MU7MN-IIIa-g-1)
2. Analyzes the musical elements of some Mindanao vocal and instrumental
music. (MU7MN-IIIa-g-2)

Objectives: At the end of the week, you shall have

o Identified the musical characteristics of representative music selections from
Mindanao after listening;
o Demonstrated understanding about the characteristics of representative music
selections from Mindanao; and
o Compared the musical elements of some Mindanao Vocal and instrumental
music to daily lives, tradition, customs, or culture.

Lesson Overview
The music of Mindanao is influenced separately from Islamic and nonIslamic cultural
traditions. These traditions have been associated with sociocultural relations and other
influences from other communities. This also gave identity to the distinctiveness of their
character.

Islamic community consists the following ethno-linguistics groups:

Ethno-Linguistic Group Place Maguindanao Cotabato Maranao Lanao and Cotabato Samal
and Jama Mapun Sulu Islands of Sibutu and Cagayan de Sulu Tausug Sulu Islands of Jolo,
Siasi, and Tawi-Tawi Yakan Basilan and Zamboanga
The larger Islamic society of Mindanao and Sulu comprises the uniqueness of their culture
including its musical practices. This makes the community into one single tradition. The
vocal styles within the large society have similarities. However, theoretical concepts,
functions, aesthetics, and repertoires differ from culture to culture, and even from village to
village belonging to one language group.

Vocal music of Mindanao particularly the Moro/Islamic Music have chants and lullabies.
These are strongly influenced by Islam and its traditions.
Chants refers to a lyrical rendition of different improvised text. Examples are the three
famous everyday style chants of Yakans performed through solo and counter or group
singing:
● Lugu – chants use in reading Qur’an and other books use in Islam religion.
● Kalangan – songs use for serenading loved ones.
● Sa-il/Lunsey – chant about married life which sung by the wife-to-be during the ceremony.

The most prestigious local form of vocal expression is reading the Qur’an. This was heard
during the Friday noon service, before and after Ramadan, during Maulud, and in
commemorating the anniversaries of deaths.

Maranaos have an extensive vocal repertoire such as:

Disclaimer: This Learning Activity Sheet (LAS) is based from the Learner’s Materials, Textbooks and Teaching Guides released by DepEd
Central Office. Furthermore, utilization of duly acknowledged external resources is purely of non-profit, for educational use and constitutes
fair use. All Rights Reserved.
● Dikker – sacred songs highlighted by quotations from the Qur’an.
● Bayok – semi-generic term for a lyrical rendition of different improvised text and
traditionally performed during wedding rites.

Lullaby is another vocal Moro/Islamic music which refers to a chant-style or chant formula
used in rocking a baby to sleep. Such lullabies are the following:
● Ya-ya – is a song of the Yakans to put the baby to sleep. – sung in a relax/slow manner,
soft and soothing while rocking the baby.
● Bayok – is also a Maranao term for lullaby.

Music Listening! Scan the QR code or use the link. Islamic Chant
https://www.youtube.com/watch?v=3wwTe1ETmG

Based on the music played above, vocal music of Mindanao particularly Islamic chant can be
understood by identifying socio-historical context, musical form, performance techniques and
musical context. See next page

Mindanao’s Islamic communities cover different forms and stylistic differences that exist in
rendering these forms.

Music Listening! Scan the QR code or use the link. Wow Mindanao Music
Video Remastered https://www.youtube.com/watch?v=WwNWgBibWoA

This music performed during Wow Mindanao Exposition 2004 shows how they described
their unique tradition. Musical element present in the performance are identified as follows:
Element of Music Descriptions
Vocal Tone (Timbre) The female uses a soprano voice while the male uses tenor.
Disclaimer: This Learning Activity Sheet (LAS) is based from the Learner’s Materials, Textbooks and Teaching Guides released by DepEd
Central Office. Furthermore, utilization of duly acknowledged external resources is purely of non-profit, for educational use and constitutes
fair use. All Rights Reserved.
Melodic Line (Melody) Thin/High Register
Rhythm Upbeat, Regular/Steady Beat, Moderate in Tempoc
Texture Thick/Polyphonic

Another cultural tradition that influences the music of Mindanao is the Non-Islamic music.
This has evolved when migrants/Christians from Luzon and Visayas came to Mindanao
during the Philippine Commonwealth under the Americans and in the 1950s and 1960s.
These settlers brought along their own culture and are evolving into its own Mindanao
identities.
Musical

Non-Islamic music such as Christian music or liturgical music was influenced from the great
contributions of the following: ● Monsignor Rudy Villanueva of Cebu. ● Narcisa Fernandez
of Davao City. ● Fr. Jose Maghinay who started his GSK songs in Dipolog, Ozamiz,
Pagadian, Iligan, and Marawi areas. ● Fr. Lhem Naval whose compositions are heavily
influenced by the Jesuits (who trained him in Vianney way back in the late 1990s).

Christians of Zamboanga have Chavacano music which has also flourished through the years.

Lumads also have music for rituals and other social functions. The word Lumad is a
collective term for groups of indigenous people from Mindanao, which means “native”. Some
of them are the Subanen, B’laan, Mandaya, Higaonon, Banwaon, Talaanding, Mansaka,
Manguanan, Dibabawon, Tagakaolo, Bagobo, Ubo, Tiruray, T’boli, and Manobo.

The following are some examples of Chavacano and T’boli music or folk songs used in
everyday lives:

Disclaimer: This Learning Activity Sheet (LAS) is based from the Learner’s Materials, Textbooks and Teaching Guides released by DepEd
Central Office. Furthermore, utilization of duly acknowledged external resources is purely of non-profit, for educational use and constitutes
fair use. All Rights Reserved.
Instrumental Music

1. Kulintang Ensemble – Gong-based ensemble used by the Maguindanao and Maranao of

western Mindanao, the Tausug, the Yakan, and the Sama
What Is It Bajao of the Sulu Archipelago. They have varied functions but are mostly used for
celebration / rituals and are mainly divided into two types.

Disclaimer: This Learning Activity Sheet (LAS) is based from the Learner’s Materials, Textbooks and Teaching Guides released by DepEd
Central Office. Furthermore, utilization of duly acknowledged external resources is purely of non-profit, for educational use and constitutes
fair use. All Rights Reserved.
  Kulintangan ( Manobo Cotabato )/Kwintangan – ensembles 0f 6-8 hanging melody
gongs in a row, hung on ropes in pyramidal order, with the smaller and higher-pitched
gongs near the top
 Tahunggo, Agung, Salmagi, BlowonSemagi – suspended gong ensembles (9-11
gongs, played a melody and drone player) in various names according to each tribe;
ensemble maybe completed with 1 or 2 drums.

Kulintang – is an important social property. This instrument of the ensemble is a highly

valued priceless heirloom that can command a high price as dowries. The ownership of these
instruments indicates high social status and cultivated taste.

Agung – a large, deep-rimmed gong, vertically suspended, hanged in wooden frames.

2. Bamboo Ensemble – According to the Philippine legends, the first man and woman are
born out of the bamboo. Bamboo is also considered among early Filipinos as a spiritual
connection from our physical world to the spiritual. Many bamboo instruments were made for
this purpose while some were also used for entertainment and personal expression. The
different manners in playing bamboo instruments include: blowing(aerophones), shaking or
hitting (idiophones), and plucking (chordophones).
Gabbang – a native xylophone in Sulu, a bamboo keyboard on top, constructed out of wood.
Ordinarily, its main body is shaped like a coffin; keys are struck with two mallets, each with
a strip of rubber fastened to its underside.
Seronggagandi – a guitar- like made of bamboo, cut before one nod and after next. Two
cords are slit loose side by side from the outer skin fibers of the bamboo itself and these are
given tension by means of bridges. A hole is then cut into the bamboojust under the 2 cords,

Disclaimer: This Learning Activity Sheet (LAS) is based from the Learner’s Materials, Textbooks and Teaching Guides released by DepEd
Central Office. Furthermore, utilization of duly acknowledged external resources is purely of non-profit, for educational use and constitutes
fair use. All Rights Reserved.
to serve as resounding holes. Music Listening: Gabbang music Philippine music: music of the
Mindanao Muslims Uwang Ahadas Gabbang http://www.youtube.com/watch?
v=AR0heXocsA

3. Solo Instrument
Kudyapi – is a 2-string plucked lute instrument made of wood which resembles and
elongated guitar usually having 2 strings. It varies in sizes, but normally it is about one and a
half meters long
- it is held in the performer’s lap like a guitar, the left hand slides back and forth along the
melody string between the frets; the middle finger of the right hand plucks both the melody
and drone strings with a rattan plectrum or kubit.

Activity 1
Directions: Describe the musical characteristics of each representative music selections from
Mindanao. Use the table below and write your answers in a separate paper.

Disclaimer: This Learning Activity Sheet (LAS) is based from the Learner’s Materials, Textbooks and Teaching Guides released by DepEd
Central Office. Furthermore, utilization of duly acknowledged external resources is purely of non-profit, for educational use and constitutes
fair use. All Rights Reserved.
Activity 2

Directions: Analyze the socio-historical context, musical form, performance techniques and
musical context of each representative music selections from Mindanao. Display your
answers using the graphic organizer. Do this activity in a separate paper.

Activity 3

Directions: Show the differences of each element of music based on daily practices, relevant
tradition, customs or culture of the following two representative music selections from
Mindanao. Use the graphic organizer to display your answers.

Disclaimer: This Learning Activity Sheet (LAS) is based from the Learner’s Materials, Textbooks and Teaching Guides released by DepEd
Central Office. Furthermore, utilization of duly acknowledged external resources is purely of non-profit, for educational use and constitutes
fair use. All Rights Reserved.
 Formative Test

Direction: Choose the letter of the correct answer. Write your answers in a separate paper.

1. Moro/Islamic music have distinct musical forms and stylistic performance techniques.
Which of the following statements is not true about their music?

A. Moro/Islamic chants and lullabies are strongly influenced by Islam and its traditions.
B. Reading the Qur’an is the most prestigious local form of vocal expression. C. Chavacano
and T’boli music are non-Islamic music which are used in everyday lives.
D. None of the above.

2. Which of the following is not a musical characteristic of Lumads?

A. Used in reading the Qur’an. B. Used in everyday lives.
C. Used for rituals. D. Used for other social functions.

3. Lugu are chants heard during prayer and are recited in a melodious way which sounded
like a song form but actually not. What best describes the statement?
A. Socio-Historical Context C. Musical Forms
B. Performance Techniques D. Musical Context

4. Wow Mindanao Exposition 2004 shows how they described their unique tradition. The
female uses a soprano voice while the male uses tenor. What element of music is present in
this statement?
A. Vocal Tone C. Melodic Line B. Rhythm D. Texture

5. Which element of music contains beats?

Disclaimer: This Learning Activity Sheet (LAS) is based from the Learner’s Materials, Textbooks and Teaching Guides released by DepEd
Central Office. Furthermore, utilization of duly acknowledged external resources is purely of non-profit, for educational use and constitutes
fair use. All Rights Reserved.
A. Timbre C. Melody B. Rhythm D. Texture

6. Which of the following percussion instrument from Mindanao best known for its highly
valued priceless heirloom that can command a high price as dowries?
A. Agung B. Kulintang C. Gabbang D. Bamboo ensemble
7. The following are the vocal music of Mindanao EXCEPT?
A. Dikker B. Owiwi C. Bayok D. Ya-ya

8. Which of the following vocal music of Mindanao use in reading Qur’an and other books in
Islam religion?
A. Lugu B. Laggu C. Bayok D. Kalangan
9. In the classification of traditional musical instruments, Gabbang is a native xylophone in
Sulu. Gabbang is an example of an Idiophone. What do you mean by an Idiophone?
A. it is a wind instrument similar to a flute
B. it is an Asian instrument that follows the structure of a piano
C. percussion instruments that are struck with a mallet to produce sound
D. none of the above
10. Why is vocal music of Mindanao important to the Islamic community specially to the
ethno-linguistic groups?
A. music of Mindanao is important because it is related to different occasion B. music of
Mindanao is important because it was written by the folk and sung to accompany daily
activities
C. it is important because similarities do exist in their vocal styles that make up the larger
Islamic society belongs to one single tradition
D. it is important because many of the ethno-linguistic groups in Mindanao are good in
singing and playing traditional instruments

Answer Key

Activity 1- Possible Answer

F – Lugu
T
T
T
F - Dikker

Activity 2 – Possible Answer

Activity 3 – Possible Answer

References

Disclaimer: This Learning Activity Sheet (LAS) is based from the Learner’s Materials, Textbooks and Teaching Guides released by DepEd
Central Office. Furthermore, utilization of duly acknowledged external resources is purely of non-profit, for educational use and constitutes
fair use. All Rights Reserved.
 Textbook:
Siobal, L. R. et al. Music and Arts – Grade 7: Learner’s Material. First
Edition. Pasig City: Department of Education-Bureau of Learning Resources, 2017.
Siobal, L. R. et al. Music and Arts – Grade 7: Teacher’s Guide. First Edition. Pasig
City: Department of Education-Bureau of Learning Resources, 2017.

Videos:
HotGuydodex. “Wow Mindanao Music Video Remastered.” June 16, 2009.
Video, 4:08. https://youtu.be/WwNWgBibWoA Kababoo K. “Islamic Chant - ‫اﻟﻧور ﷲ‬
‫ مﺳﺑ‬.” September 11, 2011. Video, 3:11. https://youtu.be/3wwTe1ETmGw Tatak
Ricta. “El Gallina Capituda with Rhythmic Accompaniment.” July 29, 2020. Video,
0:25. https://youtu.be/k-x1YQ46PCI

Disclaimer: This Learning Activity Sheet (LAS) is based from the Learner’s Materials, Textbooks and Teaching Guides released by DepEd
Central Office. Furthermore, utilization of duly acknowledged external resources is purely of non-profit, for educational use and constitutes
fair use. All Rights Reserved.
 PERFORMANCE TASK IN MUSIC 7 QUARTER 3
NAME:_____________________________________GRADE &
SECTION_____________
Learner’s Tasks - Making Improvised Mindanao Musical Instruments

Directions: Discover ways of producing sounds similar to the sounds of instruments from
Mindanao by simply creating improvised instruments out of the available materials at home.
Make sure to follow safety precautions when using knife or any blunt materials.

Rubrics for designing an instrument substitute

Above standards Appropriate materials were selected and creatively
modified in ways. The instrument shows considerable 4
attention to construction. Sound is very similar to the
instrument studied.
Meet standards Appropriate materials were selected. The instrument
shows considerable attention to construction. Can 3
produce sound similar to the instrument studied.
Approaches most of the materials were appropriate, but 1-2 were not.
standards Sounds that were produced are not that similar to the 2
ones studied.
Below standards Construction materials were not appropriate for the
purpose. Instrument were made does not produce any 1
sound at all.

Disclaimer: This Learning Activity Sheet (LAS) is based from the Learner’s Materials, Textbooks and Teaching Guides released by DepEd
Central Office. Furthermore, utilization of duly acknowledged external resources is purely of non-profit, for educational use and constitutes
fair use. All Rights Reserved.
FORMATIVE TEST
1.
2.
3.
4.
5.
6. B
7. B
8. A
9. C
10. C

Disclaimer: This Learning Activity Sheet (LAS) is based from the Learner’s Materials, Textbooks and Teaching Guides released by DepEd
Central Office. Furthermore, utilization of duly acknowledged external resources is purely of non-profit, for educational use and constitutes
fair use. All Rights Reserved.