Republic of the Philippines

Department of Education
Regional Office IX, Zamboanga Peninsula

10 Zest for Progress

Z Peal of artnership

MUSIC
Quarter 2, Wk.1 - Module 1
AFRO-LATIN AMERICAN AND POPULAR MUSIC

Name of Learner: ___________________________

Grade & Section: ___________________________
0
Name of School: ___________________________
 WHAT I NEED TO KNOW
KkKNOW
Music has always been an important part in the daily life of the
African, whether for work, religion, ceremonies, or even communication.
Singing, dancing, hand clapping and the beating of drums are essential to
many African ceremonies, including those for birth, death, initiation,
marriage, and funerals. Music and dance are also important to religious
expression and political events.
However, because of its wide influences on global music that has
permeated contemporary American, Latin American, and European styles,
there has been a growing interest in its own cultural heritage and musical
sources.
In this module, it contains review on the different elements of music
and to analyze the characteristics of Afro-Latin American and popular music
were: African music, Latin American music, Jazz music, and Popular
music. Also includes the vocal forms, instruments, vocal and dance, and
instrumental forms mentioned above.

At the end of this module, you are expected to:

1. Analyzes musical characteristics of Afro-Latin American and popular
music through listening activities. ( MU10AP-IIa-h-5)

WHAT I KNOW
Directions: Read and understand the questions carefully and write your
answers on the blanks provided.
1. What is the overall quality of sound of a piece, most often indicated by
the number/layer of voices in the music ?
Answer: ________________
2. What is the volume (loudness and softness) of a sound or note?
Answer: ________________
3. What is knownas tone color or tone quality and it is what makes a
particular musical sound have a different sound from another?
Answer: ________________
4. What is the speed (fast and slow) of the underlying beat.?
Answer: ________________
5. Who is the “King of Pinoy Rap”?
Answer: ________________

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 WHAT’S IN
ELEMENTS OF MUSIC

TEXTURE is the overall quality of sound of a piece, most

often indicated by the number/layer
of voices in the music .
TEMPO is the speed (fast and slow) of the underlying
beat.

DYNAMICS refers to the volume (loudness and softness)

of a sound or note.

also known as tone color or tone quality and

TIMBRE it is what makes a particular musical sound
have a different sound from another.

WHAT’S NEW
Directions: Identify the different musical characteristics of Afro-Latin
American and Popular music. Write your answers in the
table below.

AFRO-LATIN AMERICAN AND POPULAR MUSIC

Vocal Forms
1. African Music

Vocal and Dance Forms

2. Latin American Music

Instrumental Forms

3. Jazz Music
Vocal Forms

4. Popular Music

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 WHAT IS IT

Traditional Music of Africa

Apala (Akpala) is a musical genre from Nigeria in the Yoruba tribal
style to wake up the worshippers after fasting during
the Muslim holy feast Ramadan.

Juju is a popular music style from Nigeria that relies on the

traditional Yoruba rhythms, where the instruments in Juju are
more Western in origin.

Zouk is fast, carnival-like hythmic music, from the Creole slang word
for ‘party,’ originating in the Carribean Islands of Guadaloupe
and Martinique and popularized in the 1980’s.

Blues the notes of the blues create an expressive and soulful sound.
The feelings that are evoked are normally associated with slight
degrees of misfortune, lost love, frustration, or loneliness.

Soul music was a popular music genre of the 1950’s and 1960’s. It
originated in the United States. It combines elements of African-

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 American gospel music, rhythm and blues, and often jazz. The
catchy rhythms are accompanied by handclaps and
extemporaneous body moves which are among its important
features.

Spiritual, normally associated with a deeply religious person, refers

here to a Negro spiritual, a song form by African migrants
to America who became enslaved by its white
communities. This musical form became their outlet to
vent their loneliness and anger, and is a result of the
interaction of music and religion from Africa with that of
America.
Call and response much like the question and answer sequence in
human communication, it also forms a strong
resemblance to the verse-chorus form in many
vocal compositions.

Latin American Music

Cumbia became a popular African courtship dance with European
and African instrumentation and characteristics. It contained
varying rhythmic meters among the major locations – meter
in Colombia; , , and meters in Panama, and meter in
Mexico. Instruments used are the drums of African
origin, such as the tabora (bass drum) and cleves.

Tango may have been of African origin meaning “African dance” or

from the Spanish word taner meaning “to play” (an
instrument).

Cha cha is a ballroom dance the originated in Cuba in 1953, derived

from the mambo and its characteristic rhythm of 2 crochets
– 3 quavers – quaver rest, with syncopation on the fourth
beat.
Bossa Nova means either “trend” or “something charming,”
integrating melody, harmony, and rhythm into a swaying
feel, where the vocal style is often nasal.

Salsa is a social dance with marked influences from Cuba and Puerto
Rico that started in New York in the mid 1970’s. Its style
contains elements from the swing dance and hustle as well as
the complex Afro-Cuban and Afro-Carribean dance forms of
pachanga and guaguanco.

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Rumba is a repetitive melody with an ostinato pattern played by the
maracas, claves, and other Cuban percussion instruments. It
contains jazz elements that became a model for the cha cha,
mambo, and other Latin American dances.

Reggae is an urban popular music and dance style that originated in

Jamaica in the mid 1960’s. It contained English text coupled
with Creole expressions that were not so familiar to the non-
Jamaican.

Foxtrot is a 20th century social dance that originated after 1910 in

the USA. It was executed as a one step, two step and
syncopated rhythmic pattern. The tempo varied from 30 to 40
bars per minute and had a simple duple meter with regular
4-bar phrases.
Paso doble (meaning “double step”) is a theatrical Spanish dance
used by the Spaniards in bullfights, where the music was
played as the matador enters (paseo) and passes just
before the kill (faena).

Jazz Music
Ragtime is an American popular musical style mainly for piano,
originating in the Afro-American communities in St. Louis
and New Orleans. Its style was said to be a modification of
the “marching mode” made popular by John Philip Sousa.

Big Band refers to a large ensemble form originating in the United

States in the mid 1920’s closely associated with the Swing
Era with jazz elements.

Jelly Roll Morton who was an American ragtime and early jazz
pianist and composed Frog I More Rag. Scott
Joplin, who also composed the popular Maple Leaf
Rag, Solace, and The Entertainer. Joplin is also
known as the “King of Ragtime.”

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Big band music originated in the United States and is associated with
jazz and the swing. Among the great big bands were the
Glenn Miller Orchestra (A String of Pearls, Moonlight
Serenade, In The Mood, American Patrol, and Smoke Gets in
Your Eyes); the Count Basie Orchestra (April in Paris); and
the Benny Goodman Orhcestra (Sing, Sing, Sing); while
some solo signers such as Cab Calloway (Minnie the
Moocher) Doris Day (Stardust, I’m in the Mood for Love);
Roy Eldridge, and others also collaborated with big bands.

Bebop or bop is a musical style of modern jazz which is characterized

by a fast tempo. The speed of the harmony, melody,
and rhythm resulted in a heavy performance where the
instrumental sound became more tense and free.

Jazz rock is the music of 1960’s and 1970’s bands that inserted jazz
elements into rock music. A synonym for “jazz fusion,” jazz
rock is a mix of funk and R&B (“rhythm and blues”)
rhythms.

Popular Music
Ballad originated as an expressive folksong in narrative verse with
text dealing typically about love.

Standard Its style is mostly in a slow or moderate tempo with a

relaxed mood. It also features highly sing able melodies
within the range and technical capacity of the everyday
listener.

Rock and roll was a hugely popular song form in the United States
during the late 1940’s to the 1950’s. It combined

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 Afro-American forms such as the blues, jump blues,
jazz, and gospel music with the Western swing and
country music.
Disco music pertained to rock music that was more danceable, thus
leading to the establishment of venues for public dancing also
called discos.

Alternative music was an underground independent form of music

that arose in the 1980’s. It became widely popular
in the 1990’s as a way to defy “mainstream” rock
music. Thus, it was known for its unconventional
practices such as distorted guitar sounds,
oppressive lyrics, and defiant attitudes.

Elvis Presley’s style was the precursor of the British band known as The
Beatles, whose compositions further boosted rock
and roll as the favorite genre of the times. Examples
of The Beatles’ songs in this genre are I Saw Her
Standing There, Get Back, While My Guitar Gently
Weeps, Rock and Roll Music, and Ticket to Ride.

Rap was also made popular by such composers and performers as

Francis Magalona (Mga Kababayan Ko and Watawat) and
Andrew E (Humanap Ka ng Pangit). Francis Magalona was born
on October 4, 1964 and died on March 6, 2009. He is also
known as Francis M, “Master Rapper,” and “The Man From
Manila.” He was a Filipino rapper, songwriter, producer, actor,
director, television host, and photographer. He is often hailed
as the “King of Pinoy Rap” and is considered a legend in the
Philippine music community.

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 WHAT’S MORE

Listening Activity

Directions: Listen to the different Afro-Latin American and Popular Music

on YouTube and complete the table to its corresponding music
shown on the box.

African Music Latin

American Music
Jazz Music Popular Music

Music Style Afro-Latin American and Popular

Music
1. Juju
2. Bosa Nova
3. Get Back (Beatles)
4. Salsa
5. Frog-I-More-Rag(Jelly Roll
Morton)
6. Call and Response
7. MgaKababayan Ko (Francis
Magalona)
8. A String of Pearls(Big Band)
9. Zouk
10. Rumba

Directions: Identify the musical elements of Afro-Latin American and

Popular Music.
Musical Work Musical Elements
1. Afrobeat Tempo:
__________________
https://www.youtube.com/watch?v=fmeYKPlV4mk
2. Cha Cha Dynamics:
__________________
https://www.youtube.com/watch?v=lfygj9GVJ38
3. The Entertainer Timbre:
___________________
https://www.youtube.com/watch?v=DWX51Or-P68
4. Beat it Texture
__________________
https://www.youtube.com/watch?v=B02LXuKWGTI

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 WHAT I HAVE LEARNED

I learned__________________________________

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 WHAT I CAN DO
Listening Activity
Directions: Listen to the different Afro-Latin American and Popular Music
through applying your knowledge in musical elements by
answering the table below. Draw a star ( ) that corresponds
to your answer.
1. African Music: Apala
https://www.youtube.com/watch?v=lswSQuBPaJk

TEMPO TIMBRE

Slow Moderate Fast Heavy or Light or Thin

Thick Sound Sound

2. Latin American Music: Paso Doble–

https://www.youtube.com/watch?v=--cRMOqBLWs
TEMPO DYNAMICS

Slow Moderate Fast Soft Loud

3. Jazz Music: Maple Leaf Rag –

https://www.youtube.com/watch?v=pMAtL7n_-rc
TEXTURE TIMBRE

Monophonic Homophonic Polyphonic Heavy or Light or

Thick Thin
Sound Sound

4. Popular Music:Billie Jean–

https://www.youtube.com/watch?v=B02LXuKWGTI
TEMPO DYNAMICS

Slow Moderate Fast Soft Loud

5. Popular Music: Natutulogba ang Diyos

https://www.youtube.com/watch?v=MQwoxnNUF2Y
TEXTURE TIMBRE

Monophonic Homophonic Polyphonic Heavy or Light or

Thick Thin
Sound Sound

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 ASSESSMENT
Directions: Read each statement then encircle the letter of the correct
answer.
1. Which of the following is the popular music style from in Nigeria
that relies on the traditional Yoruba rhythms, where the
instruments in Juju are more Western in origin?
a. Kwassa kwassa b. Jit c. Jive d. Juju

2. Which of these social dances marked influences from Cuba and

Puerto Rico that started in New York in the mid 1970’s.
a. Son b. Salsa c. Samba d. Rhumba

3. It is a popular recreational dance of Afro-Cuban origin, performed

in a complex duple meter pattern and tresillo, which is a dotted
quaver – dotted quaver – dotted semiquaver rhythm.
a. . Cumbia b. Rhumba c. Tango d. Cha cha

4. Who was an American ragtime and early jazz pianist and composer
of Frog I More Rag?
a. Jelly Roll Morton b. Scott Joplin c. Glenn Miller d. Joni Mitchell

5. What is the speed (fast and slow) of the underlying beat.

a. Texture b. Dynamics c. Timbre d. Tempo

6. Who was the Filipino rapper, songwriter, producer, actor, director,

television host, and photographer, and often hailed as the “King of
Pinoy Rap” and was considered a legend in the Philippine music
community?
a. Andrew E. b. Gary V. c. Francis M. d. Sarah G.

7. Who is the singer song writer of the song entitle “Natutulog Ba Ang
Diyos”?
a. Andrew E. b. Gary V. c. Francis M. d. Sarah G.

8. Which of the following is a “trend” or “something charming,”

integrating melody, harmony, and rhythm into a swaying feel,
where the vocal style is often nasal?
a. Bossa Nova b. Salsa c. Rumba d. Tango

9. Which of the following musical elements refers to the volume

(loudness and softness) of a sound or note?
a. tempo b. Texture c. Dynamics d. Timbre

10. What musical genre from Nigeria in the Yoruba tribal style to
wake up the worshippers after fasting during the Muslim holy
feast of Ramadan?
a.Apala b. Afrobeat c. Axe d. Juju

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 ADDITIONAL ACTIVITY
Research: Identify the different musical instruments that are being used
in African Music.
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 ANSWER KEY
What to Know
1. TEXTURE
2. DYNAMICS
3. TIMBRE
4. TEMPO
5. FRANCIS MAGALONA
What’s New
1. BLUES, SOUL, SPIRITUAL, CALL AND RESPONSE
2. CUMBIA, TANGO, CHA-CHA, RUMBA, BOSSA NOVA, REGGAE,
FOXTROT, PASA DOBLE
3. RAGTIME, BIG BAND, BEBOP, AND JAZZ ROCK
4. BALLAD, STANDARD, ROCK AND ROLL, ALTERNATIVE MUSIC
AND DISCO
What is it
1. AFRICAN MUSIC
2. LATIN AMERICAN MUSIC
3. POPULAR MUSIC
4. LATIN AMERICAN MUSIC
5. JAZZ MUSIC
6. AFRICAN MUSIC
7. POPULAR MUSIC
8. JAZZ MUSIC
9. AFRICAN MUSIC
10. LATIN AMERICAN MUSIC
What’s More
1. MODERATE
2. LOUD
3. LIGHT OR THIN SOUND
4. POLYPHONIC
What Can I Do
1. MODERATE / LIGHT OR THIN SOUND
2. FAST / LOUD
3. POLYPHONIC / LIGHT OR THIN SOUND
4. MODERATE / LOUD
5. HOMOPHONIC / LIGHT OR THIN SOUND
Post Assessment
1. D 6. C
2. B 7. B
3. B 8. A
4. A 9. C
5. D 10. A
Additional Activity
1. BALAFON 11. WHISTLE 21. TRUMPETS
2. RATTLES 12.RESONATOR BOW
3. ATINGTING KON 13. LUTE
4. AGOGO 14. KORA
5. SLITDRUM 15. ZITHER
6. DJEMBE 16.ZEZE
7. SHEKERE 17.FLUTES
8. RASP 18.HORNS
9. BODY PERCUSSION 19.KUDU HORN
10. LUNA 20.REED PIPES
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 REFERENCES
Textbooks
Music and Arts Grade 10 Learner’s Material
Music and Arts Grade 10 Teacher’s Guide
Curriculum guide
K to 12 MAPEH Curriculum Guide (2016).Republic of the
Philippines, Department of Education, DepEd Complex, Meralco
Avenue, Pasig City. December 2013.
K to 12 Arts Curriculum Guide May 2016 Page 55of 102
Learning Materials uploaded at http://lrmds.deped.gov.ph/
Websites
youtube.com
selmsrecords@gmail.com
09/11/2020
https://www.youtube.com/watch?v=fmeYKPlV4mk
Pampatulog Love Songs Collection 2017: https://goo.gl/zyXuFE
09/11/2020
https://www.youtube.com/watch?v=lfygj9GVJ38
Martin Spitznagel – Classic
March 28th, 2009.
09/11/2020
https://www.youtube.com/watch?v=DWX51Or-P68
Jez Morcilla
09909/11/2020
https://www.youtube.com/watch?v=B02LXuKWGTI
planetolusola
Compiled by: John Storm Roberts (2/24/1936 - 11/29/2009)
09/11/2020
https://www.youtube.com/watch?v=lswSQuBPaJk
Paso Doble music: J.P. Strater – Paso Doble
https://goo.gl/1xPDhp
09/11/2020
https://www.youtube.com/watch?v=--cRMOqBLWs
TJaep
09/11/2020
https://www.youtube.com/watch?v=pMAtL7n_-rc
Wish 10975
09/11/2020
https://www.youtube.com/watch?v=MQwoxnNUF2Y

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 Region IX: Zamboanga Peninsula Hymn – Our Eden Land
Here the trees and flowers bloom Gallant men And Ladies fair
Here the breezes gently Blow, Linger with love and care
Here the birds sing Merrily, Golden beams of sunrise and sunset
The liberty forever Stays, Are visions you’ll never forget
Oh! That’s Region IX
Here the Badjaos roam the seas Hardworking people Abound,
Here the Samals live in peace Every valleys and Dale
Here the Tausogs thrive so free Zamboangueños, Tagalogs, Bicolanos,
With the Yakans in unity
My Final Farewell
Farewell, dear Fatherland, clime of the sun caress'd
Pearl of the Orient seas, our Eden lost!,
Gladly now I go to give thee this faded life's best,
And were it brighter, fresher, or more blest
Still would I give it thee, nor count the cost.
On the field of battle, 'mid the frenzy of fight,
Others have given their lives, without doubt or heed;
The place matters not-cypress or laurel or lily white,
Scaffold or open plain, combat or martyrdom's plight,
T is ever the same, to serve our home and country's need.
I die just when I see the dawn break,
Through the gloom of night, to herald the day;
And if color is lacking my blood thou shalt take,
Pour'd out at need for thy dear sake
To dye with its crimson the waking ray.
My dreams, when life first opened to me,
My dreams, when the hopes of youth beat high,
Were to see thy lov'd face, O gem of the Orient sea
From gloom and grief, from care and sorrow free;
No blush on thy brow, no tear in thine eye.
Dream of my life, my living and burning desire,
All hail ! cries the soul that is now to take flight;
All hail ! And sweet it is for thee to expire ;
To die for thy sake, that thou mayst aspire;
And sleep in thy bosom eternity's long night.
If over my grave some day thou seest grow,
In the grassy sod, a humble flower,
Draw it to thy lips and kiss my soul so,
While I may feel on my brow in the cold tomb below
The touch of thy tenderness, thy breath's warm power.
Let the moon beam over me soft and serene,
Let the dawn shed over me its radiant flashes,
Let the wind with sad lament over me keen ;
And if on my cross a bird should be seen,
Let it trill there its hymn of peace to my ashes.
I Am a Filipino, by Carlos P. Romulo
I am a Filipino–inheritor of a glorious past, hostage to the uncertain
future. As such I must prove equal to a two-fold task–the task of
meeting my responsibility to the past, and the task of performing
my obligation to the future.
I sprung from a hardy race, child many generations removed of
ancient Malayan pioneers. Across the centuries the memory comes
rushing back to me: of brown-skinned men putting out to sea in
ships that were as frail as their hearts were stout. Over the sea I see
them come, borne upon the billowing wave and the whistling wind,
carried upon the mighty swell of hope–hope in the free abundance
of new land that was to be their home and their children’s forever.
I am a Filipino. In my blood runs the immortal seed of heroes–seed
that flowered down the centuries in deeds of courage and defiance.
In my veins yet pulses the same hot blood that sent Lapulapu to
battle against the first invader of this land, that nerved Lakandula
in the combat against the alien foe, that drove Diego Silang and
Dagohoy into rebellion against the foreign oppressor.
The seed I bear within me is an immortal seed. It is the mark of my
manhood, the symbol of dignity as a human being. Like the seeds
that were once buried in the tomb of Tutankhamen many thousand
years ago, it shall grow and flower and bear fruit again. It is the
insignia of my race, and my generation is but a stage in the
unending search of my people for freedom and happiness.
Cebuanos, Ilocanos, Subanons, Boholanos, Ilongos,
All of them are proud and true
Region IX our Eden Land
Region IX
Our..
Eden...
Land...
Let the sun draw the vapors up to the sky,
And heavenward in purity bear my tardy protest
Let some kind soul o 'er my untimely fate sigh,
And in the still evening a prayer be lifted on high
From thee, 0 my country, that in God I may rest.
Pray for all those that hapless have died,
For all who have suffered the unmeasur'd pain;
For our mothers that bitterly their woes have cried,
For widows and orphans, for captives by torture tried
And then for thyself that redemption thou mayst gain
And whe n the d ark nig ht wr ap s the gr ave y ar d ar ound
With only the d e ad in the ir v ig il to s e e
B re ak not m y re p os e or the m ys tery p r of ound
And pe rc hanc e thou m ays t he ar a s ad hym n re s ound
' T is I, O my c ountry, r aising a s ong unto the e .
And ev e n my g rav e is r em em be re d no m ore
Unm ark 'd by ne ve r a c r os s nor a stone
Le t the plow s we ep thr oug h it, the sp ade tur n it o' er
That m y as hes m ay c arp e t e ar thly f loor,
B ef ore into nothing nes s at las t the y are b lown.
The n will ob liv ion br ing to me no c ar e
As ove r thy v ale s and p lains I s we e p;
Thr ob b ing and c le anse d in thy s p ace and air
With c olor and lig ht, with s ong and lame nt I f are ,
E v er re p e ating the f aith that I k ee p .
M y F athe rland ad or' d, that s ad ne ss to my sor r ow le nd s
B e lov ed F ilip inas, he ar now m y las t g ood -b y!
I g ive the e all: p are nts and k indr ed and f r iend s
F or I g o wher e no s lav e be f or e the op pr es s or b e nds ,
Whe r e f aith c an ne ve r kill, and God r e ig ns e ' er on hig h!
F are well to y ou all, f r om m y s oul tor n away,
F rie nds of m y c hild hood in the home disp oss e ss ed !
Giv e thanks that I re s t fr om the we ar is om e d ay !
F are well to the e, too, s we e t f rie nd that lig hte ne d m y way;
B e lov ed cre ature s all, f are well! In d e ath ther e is re s t!
I am a Filipino, child of the marriage of the East and the West. The
East, with its languor and mysticism, its passivity and endurance,
was my mother, and my sire was the West that came thundering
across the seas with the Cross and Sword and the Machine. I am of
the East, an eager participant in its spirit, and in its struggles for
liberation from the imperialist yoke. But I also know that the East
must awake from its centuried sleep, shake off the lethargy that has
bound his limbs, and start moving where destiny awaits.
I am a Filipino, and this is my inheritance. What pledge shall I give
that I may prove worthy of my inheritance? I shall give the pledge
that has come ringing down the corridors of the centuries, and it
shall be compounded of the joyous cries of my Malayan forebears
when first they saw the contours of this land loom before their eyes,
of the battle cries that have resounded in every field of combat from
Mactan to Tirad Pass, of the voices of my people when they sing:
“I am a Filipino born to freedom, and I shall not rest until freedom
shall have been added unto my inheritance—for myself and my
children and my children’s children—forever.”
15