SPA CURRICULUM MUSIC

GRADE 9
Course Description
This is a course in SPA-Music specialization that aims for the learner to demonstrate 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 vis-a--vis Western Medieval/Renaissance, Music Theory I

CONTENT CONTENT STANDARDS PERFORMANCE LEARNING

STANDARDS COMPETENCIES

A. PRE-COLONIAL The learner… The learner… The learner…

PHILIPPINES VIS-À-VIS
WESTERN  demonstrates an  performs 1. distinguishes the SPA_M
MEDIEVAL/RENAISSA understanding of Philippine different functions of U9-Ia-1
NCE cross-cultural indigenous and Indigenous music in
comparison between Medieval/Renaissa Philippine and
1. Functions of Music in Philippine indigenous nce music based on
western setting.
Daily Life (Philippine & and its functions to daily
Western) Medieval/Renaissanc life. 2. displays familiarity
 Rituals e music. SPA_M
in various U9-Ib-2
 Worship
performance practice
 Leisure &
Entertainment of Philippine and
 Historical and Western music.
Geographical
Background SPA_M
3.outlines the
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 historical and U9-Ic-3
2. Personages geographical
 Philippines: Ritualists background of
(Babaylan, Mumbaki, Philippines and
Albularyo, etc.) Gawad
Western countries.
Manlilikha ng Bayan
(GAMABA) 4. analyzes how
 Western: Monks, socio-cultural SPA_M
Troubadours, functions and U9-Id-4
Minstrels, Dancing historical events
Masters, Major affect musical forms
Composers on the across Philippine and
Medieval Renaissance Western society.
Period
5.distinguishes how
3. Musical Instruments Philippine and
 Philippines: Gongs, Western music SPA_M
Bamboo, Drums & developed alongside U9-le-5
Lutes each other through
 Western: Recorder finding
Consort, Psaltery, commonalities and
Lutes, Viols, Tambor), differences.

4. Form (Musical Genres) SPA_M

6. demonstrates
 Philippines: Ballads & skills in playing U-lf-h-6-
Epics, Mimetic Dances actual or simulated 8
 Western: Plainchant, indigenous and
Madrigals, Secular & western instruments.
Sacred, Mass, Dance
Suites

B. MUSIC THEORY I 7.applies musical

1.Elements of Music :
2
  Rhythm (Free Meter, skills for voice and SPA_M
Speech Meter, instrument playing. U-la-h-1-
Changing Meter,  demonstrates an 8
Metric, Syncopated , understanding of
Ostinato, Drone), music reading, vocal
Melody (Modes), techniques, instrument
 Harmony (Drone & playing techniques,
Melody, Organum), and sight reading
 Tempo (Grave, Lento, skills.
Prestissimo,
Ritardando,
Accelerando, Rubato),
 Dynamics
(Articulations: legato,
staccato, portamento,
portato),
 Timbre (Local
Instrument
Classification,
Hornböestel-Sachs,
Bel Canto, Indigenous
Vocal Styles,

2. Application of the
Elements of Music through
the chosen specialization:
voice and instrument-
playing.
 Instrument
Playing/Singing
(Continuation)
 Finger

3
 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 vis- a -vis Baroque, Classic and Romantic Periods, Music Theory I

CONTENT CONTENT STANDARDS PERFORMANCE LEARNING

STANDARDS COMPETENCIES

A. SPANISH COLONIAL The learner… The learner… The learner…

PERIOD VIS- A -VIS
BAROQUE, CLASSIC AND  demonstrates an  performs music 1. describes the SPA_M
ROMANTIC PERIODS understanding of cross- from the Spanish different functions of U9-IIa-1
cultural comparison Colonial Period of music in Philippine
1. Functions of music in daily between Philippine and the Philippines, and Western setting.
life (Philippine and Western): Western musical Baroque, Classical
 Sacred Music development. and Romantic 2.distinguishes SPA_M
 Secular Music Periods . Sacred from secular U9-IIb-2
music.
2. Historical & Geographic :
Colonial Expansion & the 3.identifies the
Rise of Nationalism historical and SPA_M

4
 geographical U9-IIc-3
3. Personages: background of
 Philippines: Adonay, Philippines and the
Bonus, Illustre
West.
 Western:
Troubadours, 4. identifies major SPA_M
Minstrels, Monks, composers of the
Major Composers of U9-IId-4
Spanish Colonial
the Baroque, Classical
and Romantic period in the
Periods. Philippines, Baroque,
Classical and
Romantic Periods in
4. Musical Instruments: the West.
 Baroque, Classic &
Romantic Orchestras 5.analyzes how
 Rondalla Ensemble socio-cultural SPA_M
functions and U9-IIe-5
5. Music Genres: historical events
 Philippines:
affect musical forms
Kundiman, Misa,
across Philippine and
Balitaw, Danza,
Western society.
Kumintang, Jota,
Curacha, Habanera, 6.distinguishes how
Sarswela, Komedya, Philippine and SPA_MF
Pasyon, Subli, Western music 9-IIf-6
Senakulo, developed alongside
each other through
Panunuluyan, Gozo,
finding commonalities
Villancico, Pastores, and differences.
Daigo
 Western: Oratorio, 7. applies appropriate
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 Opera, Sonata, technical skills in SPA_M
Symphony, Concertos, performing Philippine U9-IIg-7
Tone Poem, Program and Western music.
Music, Art Songs,
(Chansons, Lied, etc.)

B. MUSIC THEORY I
1. Elements of Music
8. applies musical
 Rhythm (Review of SPA_M
skills for voice and
Simple and U8-IIa-d-
 demonstrates an instrument playing.
Compound Meter), 8
understanding of music
 Melody (Review of
theory. 9.applies of the
Major and Minor
Tonality), elements of music
 Harmony (Basso through the chosen SPA_M
Continuo, Figured specialization: voice U9-IIe-h-
Bass, Alberti Bass), and instrument- 9
 Tempo (Grave, Lento, playing.
Prestissimo,
Ritardando,
Accelerando,
Rubato),
 Dynamics(Articulation
s, legato, staccato,
portamento, portato),
 Timbre ( Instruments
of the Orchestra
Hornböestel-Sachs,
Bel Canto

2.Application of the
Elements of Music
6
 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
 Interpretations
 Choral Styles

MUSIC GRADE 9 : THIRD QUARTER

American Colonial Period and Japanese Occupation, Music Theory 1

CONTENT CONTENT STANDARDS PERFORMANCE LEARNING

STANDARDS COMPETENCIES

A.American Colonial The learner… The learner…

Period and Japanese The learner…
Occupation
1.Functions of Music in  demonstrates an SPA_M
 displays familiarity
7
 Daily Life (Philippine, understanding of cross- in various 1.describes the U9-IIIa-1
American and Japanese): cultural comparison performance different functions
 Leisure and between Philippine, practice of of music in
Entertainment American and Japanese Philippine, Philippine,
 Art Music musical development. American and American and
 Popular Music Japanese musical Japanese setting.
period.
2.identifies the
SPA_M
2.Historical & historical and
geographical U9-IIIb-2
Geographic Background
background of
3.Personages: Philippine,
 Philippines: Abelardo, American and
Santiago, Molina Japanese period.
National Artists for
Music 3.analyzes how
Major Composers & socio-cultural SPA_M
Major Works functions and U9-IIIc-3
 American and historical events
Japanese Artists and affects musical
Composers forms across
Philippine,
4. Form (Musical Genres): American and
 Philippines: Sarswela, Japanese society.
Kundiman, Bodabil,
Music from the 4.distinguishes
Japanese Period how Philippine
,American and
 Western:
Japanese music
Gesamkünswerke, SPA_M
developed
Neoclassical, Avante- U9-IIId-4
alongside each
Garde, Minimalist
other through
Music, ,
finding
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 Chance/Aleatory commonalities
Music, Indeterminacy, and differences.
Jazz, Rhythm and
Blues

B. INTRODUCTION TO 5. applies musical

MUSIC (Continuation)  demonstrates an skills for voice
1.Elements of Music SPA_M
understanding of music and instrument
 Rhythm (Free Meter, theory. playing. U9-IIIa-
Changing Meter, h-5
Mixed Meter ,
Polymeter),
 Melody (Whole-Tone,
Polytonal, Twelve-
Tone),
 Harmony (Quartal
Chords, Quintal,
Heptachords,
Hexachords),
 Tempo (Grave, Lento,
Prestissimo,
Ritardando,
Accelerando,
Rubato),
 Dynamics (extreme
dynamics and
articulations ex.
Fortississimo),
 Timbre
(Unconventional
Instruments and
Manners of Playing,
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 Prepared Piano,
Electronic
instruments, Popular
music instruments)

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
MUSIC GRADE 9 : FOURTH QUARTER

Performance of instrument/voice/choir; Collaboration of the Different Art Fields

CONTENT CONTENT STANDARDS PERFORMANCE LEARNING

STANDARDS COMPETENCIES

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 A. PROGRAM The learner… The learner… The learner…
PLANNING FOR A
RECITAL  demonstrates  stages a recital. 1. applies SPA-
understanding of knowledge on music MU-IIIa-
program planning for a history to program d-1
recital. planning.

2. displays SPA-
knowledge in MU-IIIe-
B. APPLICATION OF THE performing basic h-2
ELEMENTS OF MUSIC musical
THROUGH THE CHOSEN performances .
SPECIALIZATION:
1.voice
2. instrument-playing.  demonstrates an
understanding of basic  demonstrates 3.employs SPA-
C. Instrument-Playing music reading, basic musical skills in acceptable rehearsal MU-IIIa-
/Singing (Continuation) vocal techniques, voice and/or methods to good d-3
Finger positions/Posture instrument playing instrument-playing. program planning.
 Tone Production & techniques, and sight
Resonance reading skills.
 Embouchure (winds);
bowing/plucking 4.applies aspects of
(strings); the integrated arts SPA-
 Articulation approach in the MU-IIIe-
 Basic Sight Reading staging music g-4
 Repertoire Study performances.
 Choral Styles

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GRADE 9: History and Heritage

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY

3-4 HERITAGE AND INSTRUMENTAL HERITAGE AND INSTRUMENTAL HERITAGE AND

PM MUSIC THEORY ENSEMBLE/VOICE/C MUSIC THEORY ENSEMBLE/VOICE/CH MUSIC THEORY

4-5 SOLO INSTR HOIR SOLO INSTR OIR/ SOLO INSTR

PM

INTRO TO HERITAGE:
1st Q: Historical Periods: Pre-Colonial Philippines vis-a--vis Western Medieval/Renaissance, Music Theory I
2nd Q: Spanish Colonial Period vis- a -vis Baroque, Classic and Romantic Periods, Music Theory I
3rd Q: American Colonial Period and Japanese Occupation, Music Theory 1
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

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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

Guitar: Carcassi, Sor, Hal Leonard Guitar Method Books 1 – 3, 2nd 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

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

www.upethnom.com

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