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MUSIC

QUARTER 3 – MODULE 2
MELC : Analyzes musical elements of selected songs and instrumental pieces
heard and performed.
PART I: A. Introduction:
In this lesson, you will learn about the prominent features of the vocal music of South Asia and the
Middle East (India, Pakistan, and Israel) and how the music of South Asia and the Middle East Countries
(India, Pakistan, and Israel) reflect the different aspects of South Asia and the Middle East culture through
its timbre, rhythm, melody, texture and form/style and the different cultural and musical practices of India,
Pakistan, and Israel as expressed through their feelings towards each other, to the environment, their history
and culture.

B. Discussion:
MUSIC OF INDIA
Singing based on a set of pitches was popular even during the Vedic times in India. The samagana
style of singing developed into a strong and diverse tradition over several centuries, becoming an established
part of contemporary tradition in India. The hymns in Sama Veda, a sacred text, were sung as Samagana and
not chanted.
Rhythm also plays an important role in Indian music. It is fundamental
to the creation of any musical system. Certainly, from a historical
standpoint, rhythm existed many centuries ago before the word “rag” was
ever used.
Tala- literally means ‘clap’. It is a regular, repeating rhythmic phrase,
particularly as rendered on a percussive instrument with an ebb and flow
of various intonations represented as “theka”.
Theka- A sequence of drum-syllables or “boll”. Both Hindustani classical
music and Carnatic music use complex rules to create elaborate patterns of
rhythm.
Figure 1: a musician using small cymbals to set the tala.
Tabla- A most common instrument for keeping rhythm in Hindustani music.
Mridangam- The most common instrument for keeping rhythm in
Carnatic music. It is also transliterated as Mridang
MUSIC OF PAKISTAN
Pakistan is known for its unique vocals. The distinctive Pakistani
sound was formed with multiple influences not only from various parts
of South Asia but it also includes diverse elements from Central Asia,
Persia, Turkey, and the Arab world. In the previous lesson, the two
vocal styles were introduced which are “Ghazal” that can be sung by
both men and women in
Figure2:https://www.stgeorgesbristol. co.uk/a-brief-introduction-to-qawwali- expressing their love, separation and
music/
loneliness and “Qawwali” which is classified as devotional music.

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MUSIC OF ISRAEL
Generally, the music of West Asia is modal. The
harmony is not being emphasized, yet focused on melodic
complexity and ornamentation. In the previous lesson, the two
vocal music of Israel were introduced, which are the
“devotional” and “secular”. In devotional music, it is
featured during their Sabath [in Israel], the way they pray and
worship; while, life passage events songs are performed and
executed as their secular music which generally includes Figure 3: Miriam the Prophetess - Picture of Ancient Israel Mu
popular and romantic text.

C. Readings:
INDIA
The music traditions of the North and South India, particularly the raga and tala systems, were not
considered as distinct till about the 16th century. There on, during the tumultuous period of Islamic rule of
the Indian subcontinent, the traditions separated and evolved into distinct forms. The tala system of the
north is called Hindustani, while the south is called Carnatic.
In India’s Hindustani classical performance, an artiste chooses a particular raga fitting the occasion
and the audience and presents the raga within the framework of the bandish with the melodic improvisation
adhering to the raga phraseology. Melodic mode of Indian music is embedded in the raga of an audio.
Intonation of phrases and some semitones (swaras) in particular, along with the strength and duration of
notes also form the attributes of raga in addition to aaroh or avaroh, pakads and chalans. Thus, phrases can
be considered as essential building blocks of any melody and most ragas can be adequately represented
using up to 8 phrases.

PAKISTAN
Pakistan is a country which lies at a crossroad of cultures from South Asia, Central Asia and the
Middle East with the multiple influences, Pakistani music has emerged as a "fusion" of many other types of
sound together to form a distinctly Pakistani sound.
Pakistani classical music has 7 basic notes (Sa Re Ga Ma Pa Dha Ni), with five interspersed half-
notes, resulting in a 12-note scale. Unlike the 12-note scale in Western music, the base frequency of the
scale is not fixed, and inter tonal gaps (temper) may also vary; however with the gradual replacement of the
sarangi by the harmonium, an equal tempered scale is increasingly used. The performance is set to a melodic
pattern (raag) characterized in part by specific ascent and descent. Other characteristics include King and
Queen notes and a unique note phrase (Pakad). In addition, each raga has its natural register (Ambit) and
glissando (Meend) rules, as well as features specific to different styles and compositions within the raga
structure. Performances

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are usually marked by considerable improvisation within these norms. It is traditional for performers who
have reached a distinguished level of achievement, to be awarded titles of Ustad.

ISRAEL
The early history of music in Israel was determined by two major forces: the Zionist movement,
whose participants encouraged the creation and dissemination of Israeli “folk” music; and the political
struggle against Fascism, which led many European-born musicians to flee to the Holy Land.
The songs’ lyrics spoke of the experience of living in the Holy Land, from stories about the
agricultural cycle to lullabies to stories of love. Their musical qualities combined the sounds of European
music with hallmarks of the “exotic” minor modes, the Yemenite trill, and Arabic instruments. Many of
these songs are still sung today throughout the Jewish community; among the most well-known is the love
song “Erev Shel Shoshanim” (“Evening of Lillies”).

Figure 4: Found in from the abc collection

D. Examples:
• INDIAN MUSIC MODE

Figure 5: Melodic pattern

recognition in Indian
Classical music for raga..

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 Figure 6:
the Indian system

Tala Music: https://www.youtube.com/watch?app=desktop&v=KKmgC0yxrjM

PAKISTAN MUSIC MODE

Payam e Mashriq's Ghazal, Urdu and English translation-
Rahat Fateh Ali Khan - Zaroori Tha (best example of Qawwali)

ISRAEL MUSIC MODE

Figure 7: Zum Gali Gali Sheet music and lyrics

(Please refer to activity 1 on page 5 for the link)

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PART II: Activity Proper:
Activity 1:
Directions:.Type in the links and watch. Answer the questions below and write it on the space provided.
Links: Zum Gali Gali- https://www.youtube.com/watch?v=UsKxiq5SOrI https://www.youtube.com/watch?
v=89QG4dm8MeA
Payam e Mashriq’s Ghazal- https://www.youtube.com/watch?v=kky8iKoObPw&t=64s
Rig Veda- https://www.youtube.com/watch?v=xCQCSN38KYY

Zum Gali Gali Payam e Mashriq’s Rig Veda

(Israel) Ghazal (Pakistan) (India)
Describe the mood of
the song/music

How was the music

performed?

Is the performance style

(tone) effective
in bringing the
message of the song?
How were the varied
musical
instruments used in
bringing
the message of the
song?

Highest Learner’s
Rubric for Essay Possible Score
Score Obtained
Ideas and Content
 Substantial, specific and/or illustrative content demonstrating 4
strong (deep) analysis of the topic.
Writing Organization: Clear, logical sequence
3
 All ideas were presented in a logical order.
Writing Sentence Fluency
 Most sentences varied in length and structure. Writing had a
natural flow that made it easy to read.
Grammar, Spelling, and other Mechanics (punctuation and 3
capitalization)
 Used scholarly topic-specific vocabulary and made no spelling,
grammar, capitalization, or punctuation errors.
TOTAL 10

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Key to Corrections:

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PART III: SUMMATIVE EVALUATION
A. Directions: Write the letter of your choice that corresponds to the correct answer on a separate sheet
of paper.
1. How many basic notes does the country of Pakistan usually have?
a. 7 b. 8 c. 9 d.10
2. It means literally as “clap” and it is a regular, repeating rhythmic phrase,
particularly rendered on a percussive instrument.
a. Theka b. Tala c. Tabla d. Mridangam
3. It is the most common instrument for keeping rhythm in Hindustani music.
a. Theka b. Tala c. Tabla d. Mridangam
4. It is a sequence of drum-syllables or “boll”. Both Hindustani classical music and
Carnatic music use complex rules to create elaborate patterns of rhythm.
a. Theka b. Tala c. Tabla d. Mridangam
5. The tala system of the north is called .
a. Hindustani b. Carnatic c. Qawwali d. Ghazal
6. It is the tala of the south.
a. Hindustani b. Carnatic c. Qawwali d. Ghazal
7. It is the natural register of each “raga”
a. ambit b. pakad c. Qawwali d. Ghazal
8. It is characterized as the King and Queen notes and a unique note phrase in Pakistan.
a. pakad b. ambit c. meend d. raag
9. It is the country where musical qualities combined the sounds of European music with
hallmarks of the “exotic” minor modes, the Yemenite trill, and Arabic instruments.
a. Pakistan b. Israel c. India d. Saudi Arabia
10. Rhythm in India existed many centuries ago before they called it .
a. rag b. tala c. table d. mrindangam

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B. Direction: Based on what you have learned, answer the question below in 2-3 sentences.
1. Among the three (3) representative songs of South Asia and the Middle East, choose one as your most
favorite in terms of their musical elements and explain why? (5 points)

Highest Learner’s
Rubric for Essay Possible Score
Score Obtained
Ideas and Content
 Substantial, specific and/or illustrative content 2
demonstrating strong (deep) analysis of the topic.
Writing Organization: Clear, logical sequence
2
 All ideas were presented in a logical order.
Writing Sentence Fluency
 Most sentences varied in length and structure.
Writing had a natural flow that made it easy to read.
Grammar, Spelling, and other Mechanics (punctuation
1
and capitalization)
 Used scholarly topic-specific vocabulary and made
no spelling, grammar, capitalization, or punctuation
errors.
TOTAL 5

C. Directions: Study the following musical piece “Zum Gali Gali” of Israel (see figure 7 on page 4 and
watch the video through the link on page 5). Supply/identify the information needed and write it on the
space/blank provided. (2 points each)

1. Rhythm:
2. Melody:
3. Tempo:
4. Dynamics:
5. Texture:

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References:
A. Print/Books:
Anido, B. et.al; Music and Arts Grade 8, Learners Module, (First Edition 2013)
ISBN 978-971-9990-76-5 e.g., pp. 104- 142

B. Website Readings/Picture
Indian Music
Figure 1- https://en.wikipedia.org/wiki/Tala_(music) (retrieved December 7,2020)

https://en.wikipedia.org/wiki/Tala_(music) (retrieved December 7,2020)

https://www.slideshare.net/acaaguilar/elements-of-indian-music (retrieved December 7,2020)

Figure 5- https://link.springer.com/article/10.1007/s41870-018-0245-6 (retrieved December 7,2020)

Music of Pakistan

Figure 2- https://www.stgeorgesbristol.co.uk/a-brief-introduction-to-qawwali-music/

(retrieved December 7,2020)

http://cdown.edu.jm/eLibrary_Jamaica_2019//wikipedia-schools-3.0.1/wp/m/Music_of_Pakistan.htm
(retrieved December 7,2020)

https://link.springer.com/article/10.1007/s41870-018-0245-6 (retrieved December 7,2020)

Music of Israel

Figure 3- https://www.tripadvisor.com/LocationPhotoDirectLink-g5556288-d5513071-i84420234-
(retrieved December 7,2020)

Figure 4- http://abcnotation.com/tunePage?a=ifdo.ca/~seymour/runabc/allklez/0211
(retrieved December 7,2020)
Figure 6- https://www.music-for-music-teachers.com/zum-gali-gali-lyrics.html
(retrieved December 7,2020)
https://www.myjewishlearning.com/article/israeli-music/ (retrieved December 7,2020)
https://israeled.org/jewish-liturgical-music-from-muslim-lands-piyyutim-and-pop-culture-in-israel/
(retrieved December 7,2020)
C. Videos
https://www.youtube.com/watch?app=desktop&v=KKmgC0yxrjM (retrieved December 8,2020)
https://www.youtube.com/watch?v=kky8iKoObPw (retrieved December
8,2020) https://www.youtube.com/watch?v=6-n_szx2XRE (retrieved