Special Program in the Arts

Curriculum Guide

MUSIC
GRADE 9

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 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.

SPA MUSIC CURRICULUM

PHILOSOPHY AND RATIONALE FOR MUSIC EDUCATION

Source: K-10 Philosophy and Rationale for Music Education

Music is both an aural and a temporal art. All its elements, when interwoven in the highest artistic order, are likened into a tapestry moving in
time. The global weavings of this tapestry in historical and cultural contexts are diverse—having spurred a continued metamorphosis to include a
full range of purposes, functions, and identities, from the utilitarian to aesthetic.
However, the basic nature of music does not change. In his book A Structure for Music Education, Ronald Thomas articulates that the nature
of music is expressive, ongoing, and creative. Through a language and medium of its own, music conveys ideas and feelings in a way that
addresses the human spirit, and has great value in its communicative process. Music, being responsive in interpreting contemporary times, is a
continuing art. Aaron Copland describes this characteristic as a continuous state of becoming. Like the other arts, music is a creative avenue for
man‘s individual quest for self-expression and fulfillment.
On these basic characteristics are founded the rationale of music study. A keen sensitivity to environmental and musical sounds
needs to be developed. The student must learn to hear, speak, and think in the medium of music. Simultaneously, growth and development in

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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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 SPA CURRICULUM MUSIC
GRADE 9
Course Description
This is a course in SPA-Music specialization that aims the learner to demonstrates an understanding of the basic concepts, principles, skills
of MUSIC relevant to creating processes and works reflecting History and Heritage for the EXPLORATION of creativity, sense of self and
cultural identity, and social responsibility

MUSIC GRADE 9 : FIRST QUARTER

Historical Periods: Pre-Colonial Philippines and Western Medieval/Renaissance, Introduction to Music III-A
CONTENT CONTENT PERFORMANCE LEARNING POSSIBLE
STANDARDS STANDARDS COMPETENCIES ACTIVITIES

The learner… The learner… The learner… The learner…

A. Functions of Music in Daily Life
(Phil. & Western):
1.Rituals,
2.Worship  demonstrates an  performs 1. distinguishes  makes a SPA_MF9-
3.Leisure & Entertainment understanding of Philippine and the different table of Ia-1
4.Historical and Geographical cross-cultural Western music functions of comparison
Background comparison based on its music in for both
between Philippine
functions to Philippine and Philippine
and Western
musical daily life western setting and Western
 Personages: development music
2. displays
Philippines: Ritualists (Babaylan, development
familiarity in various
Baki, etc.) GAMABA performance  traces the
Western: Troubadors, Minstrels, practice of Western linear SPA_MF9-
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Monks, Dancing Masters, Major music and historical Ia-2
Composers Philippine music development
of Philippine
3.Outline the historical and Western SPA_MF9-
and geographical music Ia-3
background of alongside
Philippines and historical
events
Western countries

4.analyzes how socio SPA_MF9-

- cultural functions Ia-4
and historical events
affects musical forms
 performs basic across Philippine and
musical skills Western society
for voice and
instruments 5.distinguishes how
Philippine and
 performs Western music
SPA_MIM9-
music through  rehearses Ia-e-5
developed alongside
solo and with music showing
each other through
accompaniment knowledge of the
finding
musical elements
commonalities and
as applied in the
differences
music 
 demonstrates an 
 applies
understanding of  sings or
basic music additional
plays
B. INTRODUCTION TO MUSIC reading, basic musical skills
instruments
for voice and 
(Continuation) vocal techniques, with technique 

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 instrument playing instrument appropriate to
1.Elements of Music : techniques, and playing the piece.
sight reading skills
 Rhythm (Free Meter, Speech
Meter, Changing Meter,
Metric, Syncopated , Ostinato,
 Drone), Melody (Modes), 
 Harmony (Drone &
Melody, Organum), 
 Tempo (Grave, Lento, Prestissimo,
Ritardando, Accelerando, Rubato), 
 Dynamics (Articulationslegato,
staccato, portamento, portato), 
 Timbre (Local Instrument
Classification, Hornboestel-
Sachs, Bel Canto, Indigenous
 Vocal Styles, 
 Musical Instruments: 
Gongs, Bamboo, Drums & Lutes
(Philippines); Recorder Consort,
Psaltery, Lutes, Viols, Tambor),
Form (Musical Genres:

Philippines: Ballads & Epics, Mimetic

Dances,
 Western: Plainchant, Madrigals,
Secular & Sacred, Mass, Dance
Suites 

3. Application of the Elements
of Music through the chosen

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 specialization: voice and
instrument-playing.
Instrument-Playing/Singing
(Continuation)
Finger positions/Posture
Tone Production & Resonance
Embouchure (winds);
bowing/plucking
(strings); Articulation
Basic Sight Reading
Repertoire Study
Choral Styles

MUSIC GRADE 9 : SECOND QUARTER

Spanish Colonial Period versus Baroque, Classic and Romantic Periods, Introduction to Music III-B
CONTENT CONTENT PERFORMANCE LEARNING POSSIBLE
STANDARDS STANDARDS COMPETENCIES ACTIVITIES
A.Functions of Music in Daily Life
(Phil. & Western):
1.Sacred Music The learner… The learner… The learner… The learner…
2.Secular Music

1. describes the SPA_MF9-

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 2.Historical & Geographic : Colonial  demonstrates an  displays different  makes a IIa-1
Expansion & the Rise of Nationalism understanding of familiarity in functions of table of
cross-cultural various music in comparison
comparison performance
 Personages: Adonay, Bonus, Illustre  Philippine and for both
between practice of
 Philippine and Western music western setting Philippine
 Troubadors, Minstrels, Western musical and Philippine 2.distinguishes sacred
and Western
Monks, Dancing Masters,  development music music SPA_MF9-
 from secular music
development  IIa-2
3.Major Composers  3..identifies the 
historical and  traces the
geographical linear
background of historical
development
Philippines SPA_MF9-
of Philippine
and western IIa-3
and Western
4. enumerates major music
composers of the alongside
Spanish colonial historical
period in the events  SPA_MF9-
Philippines. 
IIa-4
 rehearses
5. enumerates the music SPA_MF9-
major composers of showing IIa-5
the baroque, classical knowledge of
and romantic periods. the musical
6.analyzes how elements SPA_MF9-
socio-cultural applied in IIa-6
functions and the music 

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 historical events
affects musical forms
across Philippine
and Western society

7..distinguishes how
SPA_MF9-
Philippine and
IIa-7
Western music
developed alongside
each other through  sings or
finding plays
commonalities and instruments
differences with
technique
appropriate
to the
performance
B. INTRODUCTION TO
practice of
MUSIC (Continuation) 8. applies
the piece. 
 demonstrates  additional musical
an understanding of  demonstrates SPA_MI9-
1.Elements of Music : skills for voice and IIa-e-8
basic music basic musical
instrument playing
reading, basic vocal skills in voice
 Rhythm (Review of Simple techniques, and/or
and Compound Meter),  instrument playing instrument-
 Melody (Review of Major techniques, and playing
and Minor Tonality),  sight reading skills
 Harmony (Basso Continuo,  performs
Figured Bass, Alberti Bass),  music through
 Tempo (Grave, Lento,  solo and with

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 Prestissimo, Ritardando, accompaniment
Accelerando, Rubato),
 Dynamics(Articulations,  applies
legato, staccato, appropriate
 portamento, portato),  technical skills
 Timbre ( Instruments of the in performing
Orchestra Hornboestel- Philippine and
Sachs, Bel Canto,  Western music


 Musical Instruments:
Baroque, Classic &
Romantic Orchestras 
 Music Genres: 
Philippines: Kundiman, Misa,
Balitaw, Danza, Kumintang, Jota,
Curacha, Habanera, Sarswela,
Komedya, Pasyon, Subli,
Senakulo, Panunuluyan, Gozo,
Villancico, Pastores, Daigon
Western: Oratorio, Opera, Sonata,
Symphony, Concertos, Tone
Poem, Program Music, Art Songs,
(Chansons, Lied, etc.) 

2. Application of the Elements of Music
through the chosen specialization:
voice and instrument-playing.
Instrument-Playing/Singing

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 (Continuation)
Finger positions/Posture
Tone Production & Resonance
Embouchure (winds);
bowing/plucking
(strings); Articulation
Basic Sight Reading
Repertoire Study
Interpretations
Choral Styles

*NOTE
Teachers are free to choose what
elements of music he/she thinks is
necessary to apply in the course.

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MUSIC GRADE 9 : THIRD QUARTER

3rd Quarter: American and Japanese Occupation. Introduction to Music III-C

CONTENT CONTENT PERFORMANCE LEARNING POSSIBLE
STANDARDS STANDARDS COMPETENCIES ACTIVITIES
A.Functions of Music in Daily Life
(Phil. & Western):
1.Leisure and Entertainment The learner… The learner… The learner… The learner…
2.Art Music
3.Popular Music
 demonstrates an 1.describes the
4.Historical & Geographic understanding of  displays different  makes a SPA_MF9-
Background cross-cultural familiarity in functions of table of IIIa-1
comparison various music in comparison
between Philippine performance Philippine and
and Western practice of western setting for both
Philippine
 Personages: Philippines: musical Western music
development and Philippine and Western
Abelardo, Santiago, Molina music 2.identifies the music SPA_MF9-
National Artists for Music
historical and development IIIa-2
 Major Composers & Major Works geographical
background of  traces the
Philippines and
linear
western
historical
development
B. INTRODUCTION TO MUSIC of Philippine SPA_MF9-
(Continuation)  demonstrates an 3.analyzes how and Western IIIa-3
understanding of socio-cultural music
1. Elements of Music basic music functions and alongside
reading, basic vocal  demonstrates historical events

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  Rhythm (Free Meter, techniques, basic musical affects musical historical
Changing Meter, Mixed instrument playing skills in voice forms across events
Meter , Polymeter),  techniques, and and/or Philippine and  rehearses
 Melody (Whole- sight reading skills instrument- Western society music
Tone, Polytonal, playing showing
 Twelve-Tone),  knowledge of
 Harmony (Quartal 4.distinguishes
how Philippine the musical
Chords, Quintal, SPA_MF9-
Heptachords, and Western elements as
IIIa-4
Hexachords),  applied in
 music
 Tempo (Grave, Lento, developed the music 
Prestissimo, alongside each  sings or
Ritardando, plays
other through
 Accelerando, Rubato),  instruments
finding
 Dynamics (extreme with
dynamics and  performs commonalities
and differences technique
articulations ex. music through
appropriate
 Fortississimo),  solo and with
 Timbre (Unconventional accompaniment  5. applies to the
Instruments and additional performance
Manners of Playing,  applies musical skills for practice of
Prepared Piano, appropriate voice and the piece.  SPA_MF9-
Electronic instruments, technical skills IIIa-e-5
instrument
 Popular  in performing
music instruments)  Philippine and playing 
Western music
Form (Musical Genres:
Philippines: Sarswela, Kundiman,
Bodabil, Music from the Japanese Period

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 Western: Gesamkünswerke,
Neoclassical, Avante-Garde,
Minimalist Music, ,
Chance/Aleatory Music,
Indeterminacy, Jazz, Rhythm
and Blues 

2.Application of the Elements

of Music through the chosen
specialization: voice and
instrument-playing.

Instrument-Playing/Singing
(Continuation)
Finger positions/Posture
Tone Production & Resonance
Embouchure (winds);
bowing/plucking
(strings); Articulation
Basic Sight Reading
Repertoire Study
Choral Styles

*NOTE
Teachers are free to choose what
elements of music he/she thinks is
necessary to apply in the course.

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MUSIC GRADE 9 : FOURTH QUARTER

4th Quarter: Performance of instrument/voice/choir; Collaboration of the Different Art Fields;

CONTENT CONTENT PERFORMANCE LEARNING POSSIBLE
STANDARDS STANDARDS COMPETENCIES ACTIVITIES
A. Application of the Elements of
Music through the chosen
specialization: The learner… The learner… The learner… The learner…
1.voice
 demonstrates an  demonstrates 1. displays knowledge  makes a practice SPA_MA9-
2. instrument-playing.
understanding of basic musical in performing basic plan detailing IVa-1
Instrument-Playing/Singing basic music skills in voice musical performances technical
(Continuation) reading, basic and/or requirements for
Finger positions/Posture vocal techniques, instrument- pieces
instrument playing playing 2.displays knowledge SPA_MA9-
Tone Production & Resonance
Embouchure (winds); techniques, and in music program  rehearses IVa-2
sight reading skills  performs planning
bowing/plucking (strings); music showing
music through
Articulation knowledge of the
solo and with
Basic Sight Reading accompanime musical elements
Repertoire Study nt as applied in the
Choral Styles music
 sings or
B.PROGRAM PLANNING
plays instruments
1.Basics of Planning a Music  employs
with technique
Performance acceptable
2.Rehearsal Preparation rehearsal appropriate to the
3.Staging the Performance methods to good performance
program practice of the
planning piece.

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  applies
aspects of the
integrated
arts approach
in the staging
music
performances
*the
performance
standards for
the fourth
quarter will be
showcased in
collaboration
with all the other
art fields

GRADE 9: History and Heritage

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY

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 3-4 HERITAGE AND MUSIC INSTRUMENTAL HERITAGE AND MUSIC INSTRUMENTAL HERITAGE AND MUSIC
PM ENSEMBLE/VOICE/CHOIR ENSEMBLE/VOICE/CHOIR
4-5 SOLO INSTR SOLO INSTR / SOLO INSTR
PM
INTRO TO HERITAGE:
1st Q: Historical Periods: Pre-Colonial Philippines and Western Medieval/Renaissance, Introduction to Music III-A
2nd Q: Spanish and Baroque, Classic and Romantic Period, Introduction to Music III-B
3rd Q: American and Modern Period, Introduction to Music III-C
4th Q: Performance of instrument/voice/choir, Collaboration of the Different Art Fields

Solo Performance/ Collaboration: instrument/voice/choir---a) SOLO: BAMBOO FLUTE, GUITAR, PIANO, VOICE; b) INSTRUMENTAL
ENSEMBLE: INDIGENOUS MUSIC ENSEMBLE (SLT PARTNERSHIP), Rondalla, Recorder, Chamber/Mixed; c) CHOIR: SSA/SATB OR DIVISI
MATERIALS:
History: CCP Encyclopedia of Music, History of Music by Jose Maceda, Grove‘s Dictionary of Music and Musicians, Garland Encyclopedia of
Music Introduction to Music: Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory Musicianship by Theodor Lynn,
Thinking About Music by Bonnie Wade
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 byVan 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

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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

Website resource: www.giamusic.com, www.teoria.com, www.solfege.org, www.culturalequity.org , www.folkways.si.edu,

www.upethnom.com

Prepared by: Jocelyn T. Guadalupe,

Christine M. Muyco,
Jose S. Soliman, Jr.,
Leticia G. Del Valle,
Arvin Manuel R. Villalon

As of June 25, 2014

College of Music, UP Diliman