Professional Documents
Culture Documents
Curriculum Guide
MUSIC
GRADE 8
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SPA MUSIC CURRICULUM
CONCEPTUAL FRAMEWORK
Music occupies a very important role in Philippine society. Its function is well entrenched in the various occasions and festivals and in the day
to day activities of households. Music is used as a means to express and convey messages to members of the community. In the Philippine context,
there is no direct translation for the word music but there is a multitude of words relating to music which describe song forms, musical instruments,
and processes. This just means that music is more than just an abstraction as it is found in the everyday experiences of the people.
The SPA music curriculum focuses on four threads which at the end of the program will equip the learner as an engaged artist in the field of
music: 1. music as borne of the expression of the self as seen in the Filipino tales, epics, rituals, and festivals; 2. music as a community resource
rooted in the natural, tangible, and intangible heritage of the people; 3. music as an continuing expression of the people‘s history and; 4. music as a
contextualized reality from the local to global perspectives in the contemporary times.
Along with four threads, the curriculum will develop the learner‗s knowledge, appreciation, and skills in music using the seven building blocks
of music distributed across the curriculum (Philosophy of Music; Overview of Music; Music Elements and Concepts; Music Processes and Skills;
Musical Instruments; Music Genre and Styles; People of Music). The SPA program is a spiraling program, grounded on performance-based learning.
At the end of the program the learners will have gained the basic and intermediate skills in music which will prepare them for a career and/or higher
education in music and other art disciplines.
The philosophical foundations upon which standards and competencies are based on are aligned with the regular K-12 program for music
and the arts. These include among others, the following sources: A Process of Education by Jerome Bruner, Performance-Based Learning by
Cleve Miller, Aesthetic Education by Bennett Reimer, Praxial Music Education by David Elliott, Multiple Intelligences by Howard Gardner, A
Structure for Music Education by Ronald Thomas, Gongs and Bamboo by Jose Maceda, Compendium on the Humanities: Musical Arts produced
by the National Research Council of the Philippines, Dictionary of Filipino Musical Terms produced by the UP Center for Ethnomusicology, Content
Standards from the National Standards for Arts Education by Music Educators National Conference (MENC), Integrating Music Throughout the
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Curriculum by Claudia Cornett, Cultural Dictionary for Filipinos by Thelma Kintanar and Associates, Creative and Mental Growth by Viktor
Lowenfeld and W. Lambert Brittain, Discipline-Based Art Education by Elliot Eisner, Encyclopedia of Philippine Arts and Tuklas Sining, both
produced by the Cultural Center of the Philippines, and Malikhaing Guro by ARTISTS, Inc.
Music is both an aural and a temporal art. All its elements, when interwoven in the highest artistic order, are likened into a tapestry moving in
time. The global weavings of this tapestry in historical and cultural contexts are diverse—having spurred a continued metamorphosis to include a
full range of purposes, functions, and identities, from the utilitarian to aesthetic.
However, the basic nature of music does not change. In his book A Structure for Music Education, Ronald Thomas articulates that the nature
of music is expressive, ongoing, and creative. Through a language and medium of its own, music conveys ideas and feelings in a way that
addresses the human spirit, and has great value in its communicative process. Music, being responsive in interpreting contemporary times, is a
continuing art. Aaron Copland describes this characteristic as a continuous state of becoming. Like the other arts, music is a creative avenue for
man‘s individual quest for self-expression and fulfillment.
On these basic characteristics are founded the rationale of music study. A keen sensitivity to environmental and musical sounds
needs to be developed. The student must learn to hear, speak, and think in the medium of music. Simultaneously, growth and development in
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the skills that enable the application of the learner‘s knowledge should be encouraged, through active involvement in the various musical processes.
Drawing from the development of music pedagogy through the years, the K-10 Music Curriculum embodies the best practices advocated by
the SPIRAL, MULTI-CULTURAL, and INTEGRATIVE approaches in music education, as well as current philosophical thoughts about
contemporary general education. We envision that Music in the K-10 Program will effectively nurture and refine the learner‘s artistic expression and
cultural literacy, and celebrate his/her national heritage, while it instills, within every individual Filipino learner, pride in his/her own cultural identity.
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CONTENT CONTENT PERFORMANCE LEARNING POSSIBLE
STANDARDS STANDARDS COMPETENCIES ACTIVITIES
A. INTRODUCTION TO THE
NATURAL AND CULTURAL The learner… The learner… The learner… The
HERITAGE OF A demonstrates Creates a 1.describes learner…
COMMUNITY: draws and
an cultural map the
1. Cultural Heritage understanding depicting the dimensions explains SPA_MC
of cultural community of society the various H8-Ib-1
heritage heritage and applies dimension
(tangible and them on an s of society
intangible). analysis of and its
his reflections
2.The Different
Dimensions of Society: community in his /her
demonstrates community
Ecology, Governance,
Cultural, Social, Human, an
understanding
Economic, and Spiritual of the different conducts
dimensions or survey of the
modalities of music
society as resources of
applied in a the
community assesses the community
3. Assessing the Music
and their music
Resources of a
various resources of
Community relationships the
community
4.Basic Social Mapping
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2.illustrates SPA_MC
social maps H8-Ib-2
B. INTRODUCTION TO MUSIC with clarity,
1.Elements of Music : analysis,
and interest
Rhythm (Simple &
Compound Meter, demonstrates
Syncopated ) an
understanding Performs
Melody (Key
Signatures, Scale of basic social sight-
draws
Degree names mapping reading,
methods social
Types and singing and maps
Qualities of playing
Intervals),
demonstrates
Harmony (Chord
an
Functions, Tonic, evaluates
understanding 3. evaluates
Dominant, Chord music
of basic music
Progressions), applying the music
reading, basic SPA_MI
Tempo vocal basic musical applying the reads and
basic M8-Ij-3
(Grave, Lento, techniques, elements and analyzes
Prestissimo, instrument skills musical music
elements
Ritardando, playing
and skills
Accelerando, techniques,
performs rehearses
Rubato), and sight
reading skills music through pieces
Dynamics(crescen solo and with
do, decrescendo, accompaniment 4.explains SPA_MI
diminuendo), how specific applies M8-Ia-
Timbre elements of technique d-4
(Hornboestel- music are
6
Sachs applied in in singing
Classification, particular or playing
Voice –SATB, pieces instrument
Solo, Duet, s
Trio,Quartet ),
Form (Canon,
Fugue, Sonata
Allegro, Concerto,
Symphony)
2. Importance
of Music
as an
expression
of life;
as a tool for
communicat
ion;
as an
expression
of personal
and cultural
identity;
as an
expression
of history;
as a
repository
of values;
as a
means for
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promoting
personal
and social
growth 3.
Application of the
Elements of Music
through the chosen
specialization:
voice and
instrument-playing.
Instrument-
Playing/Singing
(Continuation
from Grade 7)
Finger
positions/Posture
Tone Production
& Resonance
Embouchure (winds);
bowing/plucking
(strings);
Articulation
Sight Singing
Basic Sight Reading
Repertoire Study
*NOTE
Teachers are free to
choose what elements
of music he/she thinks is
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necessary to apply in the
course.
A. OUR LIFE SOURCES The learner… The learner… The learner… The
1.Ecological Mapping: learner…
Creative Presentation of Local demonstrates Map an 1. identifies SPA_ML
Natural Resources (marine, an inventory of the different resear S8-IIa-b-
terrestrial, aerial ecosystems understanding the natural natural ches on 1
of a community) of the natural resources of resources of ecosystems
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resources of the the and their
his/her community , community significance
community and ecosystems and their
its different and give significance.
ecosystems their
significance.
illustrates SPA_ML
the varied 2.creates
ecological draws S8-IIa-b-
ecosystems
in his/her maps of the or creates 2
community natural visual
through an resources collages or
ecological of his/her community
map or community maps
visual illustrating
2.Earth Music Fusion collage various
eco-
systems
3.creates SPA_ML
soundscapes explores S8-IIa-b-
of human and various
ecological 3
soundsca
situations pes
based on
these maps
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Music : music elements improvisatio
Rhythm to the earth n
(Simple &
Compound performs
Meter, music with an
Syncopated ecological
) content
Melody
(Key
creates
Signatures,
simple
Scale
Degree accompanim
names ents to local
Types and music
Qualities of
Intervals),
Harmony SPA_MI
Chord M8-IIa-d-
Functions, demonstrates demonstrate 4
Tonic, the basic 4. identifies applies
s skills in
Dominant, aural skills music
the elements technique in
Chord of music singing or
reading and
playing
Progression ensemble
s), playing and instruments
Tempo singing
writes
(Grave,
Lento, demonstrates an
understanding stages experience
Prestissimo,
musical paper on
Ritardando, of the various
performance the quarter
Accelerand methods and
with an activities
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o, Rubato), techniques of ecological
Dynamics(c singing and content
rescendo, instrument- studies
decrescend playing performs new pieces
o, music applying
diminuendo) demonstrates through solo music
, understanding and with theory and
Timbre of melody, accompani sight
harmony, ment reading
(Hornboeste
balance, and skills
l-Sachs blending
Classificatio through rehear
n, Voice – ensemble ses small
SATB, Solo, playing and group
Duet, group singing ensembles
Trio,Quartet ),
Form
(Canon,
Fugue,
Sonata
Allegro,
Concerto,
Symphony)
2. Application of
the Elements of
Music through
the chosen
specialization:
voice and
instrument-
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playing.
3. Instrument-
Playing/Singing
(Continuation
from Grade 7)
Finger
positions/Posture
Tone Production
& Resonance
Embouchure
(winds);
bowing/plucking
(strings);
Articulation
Sight Singing
Basic Sight
Reading
Repertoire Study
Choral Harmony,
Balance &
Blending
4.Rehearsals and
Performance of Pieces
with Ecological Content
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3rd Q: Basic research, mapping of tangible and intangible musical cultures, Introduction
to Music II-C;
CONTENT CONTENT PERFORMANCE LEARNING POSSIBLE
STANDARDS STANDARDS COMPETENCIES ACTIVITIES
2.creates ce SPA_MC
illustrates maps of the draws H8-IIIa-2
the heritage cultural or creates
resources of
demonstrates icons in visual
an his/her communities collages or
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understanding community community
of local through a 3.creates maps
heritage icons cultural map scenes of illustrating SPA_MC
and their or visual human and various H8-IIIa-3
conditions collage socio-cultural tangible
situations and
based on intangible
these maps cultural
resources
4. identifies
SPA_MC
the music explor
B. INTRODUCTION TO features of a es various H8-IIIa-4
MUSIC (Continuation) short heritage music
piece techniques
1. Elements of Music : to portray
heritage
Rhythm (Simple & icons and
Compound Meter, human
Syncopated , Ostinato, situations
Drone),
Melody (Key
perfor
Signatures, Scale
ms music
Degree names Types with a
and Qualities of heritage
Intervals, Modes),
content
Harmony (Chord
Functions, Tonic,
Dominant, Chord
Progressions, Drone &
Melody),
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Tempo (Grave,
Lento, Prestissimo,
Ritardando, demonstrates performs
Accelerando, Rubato), an basic musical writes
Dynamics(crescen understanding skills in voice an
do, decrescendo, of basic and/or experience
elements of instrument- paper on
diminuendo),
performance playing the quarter
Timbre
and music activities
(Hornboestel-Sachs,
interpretation
Bel Canto, Indigenous rehear
Vocal Styles), demonstrates
ses small
Form ( Sonata an performs
group
Allegro, Concerto, understanding music
ensembles
Symphony, Theme & of features pieces with
Variations, Cyclic form, related to cultural
Indigenous Forms) dynamics, tone heritage
2.Application of the gradation, content
Elements of Music articulation,
through the chosen and tempo
specialization: voice
demonstrates
and instrument-playing. performs
understanding
music
Instrument- of elements of
through solo
Playing/Singing music as
and with
(Continuation) applied to
accompani
Finger indigenous
ment
positions/Posture forms
Tone Production
& Resonance stages
Embouchure demonstrates music
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(winds); an performance
bowing/plucking understanding with a cultural
(strings); of cultural heritage
Articulation research content
Sight Singing
Basic Sight
demonstrates
Reading
understanding
Repertoire Study of the
Choral Harmony, performance of
Balance & music pieces
Blending with cultural
3.TECHNIQUE CLASS (Voice heritage
and Instrument): Performance content drawn
of Local Music Pieces from local
(Community Resources) community
resources
4.CULTURAL RESEARCH
Field Research Approaches
Creating Cultural Heritage
Maps and Selecting Icons for
Music Performance
PERFORMANCE of Pieces
with CULTURAL
HERITAGE content
*NOTE
Teachers are free to
choose what elements
of music he/she thinks is
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necessary to apply in the
course.
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Rehearsal Preparation musical SPA_MP
Staging the demonstrates skills for P8-IVa-2
Performance an voice 2.analyzes plans
understanding and the for a music
of the staging instrume importance of program
process nts a good music
utilizing programming,
C. REHEARSALS AND elements of rehearsal
PERFORMANCE: Plays production preparation,
and staging
and/or Music values like
Performances pertaining music, design,
and movement condu
to Life Sources,
cts various SPA_MM
Heritage and Culture
demonstrates performs
3.improvises rehearsals P8-IVa-b-
an music pieces and run-
music based 3
understanding with cultural
on local throughs
of rehearsal heritage
cultural
and staging content perfor
heritage
methods ms in front
leading to run- of an
throughs and audience SPA_MP
performances performs P8-IVa-
music 4.identifies condu
b-4
through solo acceptable cts a
and with rehearsal feedback
accompani methods session
ment applicable to with the
good program audience
planning
performs
improvisa
tion of
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employs local
acceptable musical
rehearsal materials
methods to
good program evalua
planning tes the
production
applies process in
aspects of class
the
integrated writes
arts a journal of
approach experience
in the s of the
staging entire
music Grade 8
performanc
es
*the
performance
standards for
the fourth
quarter will be
showcased in
collaboration
with all the
other art fields
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Schedule
3-4 INTRO TO MUSIC II INSTRUMENTAL INTRO TO MUSIC II VOCAL ENSEMBLE INTRO TO MUSIC II
PM ENSEMBLE
4-5 SOLO INSTR SOLO INSTR SOLO INSTR
PM
Coverage of INTRO TO MUSIC II:
1st Q: Community/Folk life and music; Introduction to Music II-A
2nd Q: Ecology and natural resources; Introduction to Music II-B
3rd Q: Basic research, mapping of tangible and intangible musical cultures; Introduction to Music II-C
4th Q: Performance: instrument/voice/choir; Collaboration of the Different Art Fields
Solo Performance/Collaboration: instrument/voice/choir---a) SOLO: WINDS, GUITAR, PIANO, STRINGS, percussion, VOICE; b)
INSTRUMENTAL ENSEMBLE: INDIGENOUS MUSIC ENSEMBLE (SLT PARTNERSHIP), Rondalla, Recorder, Chamber/Mixed;
c) CHOIR: SSA/SATB OR DIVISI
MATERIALS:
Introduction to Music: Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory Musicianship by
Theodore Lynn
Community/Folk Music: Dictionary of Filipino Musical Terms (UPCE), Anthology of Philippine Folk Songs by Damiana Eugenio,
CCP Encyclopedia of Music, Select Transcriptions of Philippine Folk Songs by Lilia Tolentino (unpublished thesis); Compendium of
Humanities by NRCP, Palabunibunyan by Aga Mayo Butocan, Gongs and Bamboo by Jose Maceda
Ecology: Soundscape by Murray Schafer, Earth Music by Arvin Villalon
Rondalla: Celso Espejo Rondalla Methods by Celso Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Philippine Rondalla
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by Angelita Pasamba, Laro-Rondalya by Polvoriza, Muyco, Trangco, Perez
Choir: NAMCYA Choral Series, Sundry Choral Series (reprint), Koro Leyteno, Philippine Folk Songs by Reysio Cruz, Hallel by
Augusto Espino, Teaching Choral Music (Dawn Collins), Handbook for Beginning Choral Educators (Walter Lamble), Singing at First
Sight Series (Andy Beck), Teaching Music Through Performance in Middle School Choir, Collaboration in the Ensemble Arts
Solo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Voice Methods of
Concone, Marchesi, MacClosky, Foundations of Singing by Van Christy
Indigenous Music: Palabunibunyan by Aga Mayo Butocan, Select Transcriptions of Philippine Folk Songs by Lilia Tolentino
(unpublished thesis), Gongs and Bamboo by Jose Maceda, Dictionary of Philippine Musical Terms (UPCE), Philippine Traditional Music
by Kristina Benitez, Tuklas Sining, CCP Encyclopedia, ―Mangalimog ako: Finding one‘s voice in Sugidanon (epic chanting)‖ by Christine
Muyco in Songs of Memory in Islands of Southeast Asia , Musika Jornal, Sonic Orders, Songs of the Babaylan (Grace Nono) Musics of
ASEAN , Compendium on the Humanities NRCP
nd
Guitar: Carcassi, Sor, Hal Leonard Guitar Method Books 1 – 3, 2 edition (2002), Mel Bay, Hohmann-Wohlfarth
Winds/Perc.: Rubank, Burakoff, Teaching Music Through Performance in Band
Piano: Czerny Op. 599, Bach Notebook of Anna Magdalena Bach, Seleksiyon and Likha Tugtugin by Augusto Espino, Score Series
by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series, Alfred Piano Series, Hal Leonard Piano Series, Piano
Adventures, The Contemporary Piano Method, Celebration Series
Strings: NAMCYA Violin Series, Suzuki Method Book I, Mel Bay Modern Violin, Hal Leonard Essential Elements for Strings, Alfred
String Builder, Kjosk Essential for Strings, Habits of a Successful String Musician: Full Score
Rondalla: Celso Espejo Rondalla Method by Celso Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Philippine Rondalla
by Angelita Pasamba, Laro-Rondalya by Polvoriza, Muyco, Trangco, and Perez
Choir: NAMCYA Choral Series, Sundry Choral Series (reprint), Koro Leyteno, Philippine Folk Songs by Reysio Cruz, Hallel by
Augusto Espino, Teaching Choral Music (Dawn Collins), Handbook for Beginning Choral Educators (Walter Lamble), Singing at First
Sight Series (Andy Beck), Teaching Music Through Performance in Middle School Choir, Collaboration in the Ensemble Arts