2016 Music CG

Republic of the Philippines
Department of Education
DepEd Complex, Meralco Avenue Pasig City
K to 12 Curriculum Guide
MUSIC
K to 12 BASIC EDUCATION CURRICULUM
(Grade 1 to Grade 10)
May 2016
CONCEPTUAL FRAMEWORK
Both the Music and the Arts curricula focus on the learner as recipient of the knowledge, skills, and values necessary for artistic expression and cultural
literacy. The design of the curricula is student-centered, based on spiral progression of processes, concepts and skills and grounded in performancebased learning.
Thus, the learner is empowered, through active involvement and participation, to effectively correlate music and art to the development of his/her own cultural
identity and the expansion of his/her vision of the world.
As Music and Arts are performance-based disciplines, effective learning occurs through active experience, participation, and performance, creative
expression, aesthetic valuation, critical response, and interpretation. The skills that are developed include reading/analyzing, listening/observing, performing,
(singing, using musical instruments, movement, acting, and playing, using different art materials, techniques and processes, responding, composing, and
creating. (See Figure 1 and Figure 2)
The philosophical foundations upon which standards and competencies are based include: A Process of Education by Jerome Bruner, Performance-Based
Learning by Cleve Miller, Aesthetic Education by Bennett Reimer, 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, 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.
K to 12 Music Curriculum Guide May 2016 Page 2of 124

Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered to
schools.
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 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 thought about contemporary general education.
schools.
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 instils, within every individual Filipino learner, pride in his/her own cultural identity.

schools.
Figure 1. The Curriculum Framework of Music and Arts Education

schools.
Grade 12Mastery of Proficiency in the chosen form or genre
Grade 11Mastery of Proficiency in the chosen form or genre
Grade 10Application of Contemporary Music and Arts
Grade 9Application – Western Music and Arts
Grade 8Application – Asian Music and Arts
Grade 7Application – Philippine Folk Music and Arts
Grade 6Application for Appropriate Mastery and Acquisition of Skills
Grade 5Exploration – Elements / Processes
Grade 4Formal Introduction to Elements / Processes
Grade 3Preliminary Acquisition of Basic Knowledge and Skills
Grade 2Enhanced Understanding of Fundamental Processes
Grade 1Introduction to the Fundamental Processes
KindergartenExposure to the Different Music & Art Processes

(Experiential Learning)
Figure 2. Content of Music and Art

s per Grade Level
Table 1. Basic Reference for Music Content

schools.
Music Elements Music Processes
-
creating)
(including movement)
*No formal instruction in harmony

from K to 3

schools.
LEARNING AREA STANDARD: The learner demonstrates an understanding of basic concepts and processes in music and art through appreciation,
analysis and performance for his/her self-development, celebration of his/her Filipino cultural identity and diversity, and
expansion of his/her world vision.
KEY STAGE STANDARDS:
K-3 4-6 7 – 10
The learner demonstrates The learner demonstrates

understanding of basic elements and understanding of salient features of
concepts through performing, creating, music and art of the Philippines and the
The learner demonstrates
and responding, aimed towards the world, through appreciation, analysis,
understanding of fundamental
development of appreciation of music and performance, for self-development,
processes through performing,
and art, and acquisition of basic the celebration of Filipino cultural
creating, and responding, aimed
knowledge and skills. identity and diversity, and the
towards the development of
expansion of one’s world vision.
appreciation of music and art, and
acquisition of basic knowledge and
skills.
GRADE LEVEL STANDARDS:

schools.
Grade Level Grade Level Standards
Kindergarten The learner is exposed to the different basic music and art processes through experiential learning.
The learner demonstrates basic understanding of the fundamental processes in music and art, through performing, creating, listening and observing,
Grade 1
and responding.
The learner demonstrates understanding of the basic and fundamental processes in music and art, through performing, creating, listening and
Grade 2
observing, and responding.
The learner has acquired the basic and fundamental processes through performing, creating, listening and observing, and responding, towards the
Grade 3
development of appreciation of music and art, and the acquisition of basic knowledge and skills.
Through the formal introduction of elements, the learner can identify the basic knowledge and skills in music and art, towards self-development, the
Grade 4
celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
Through exploration, the learner demonstrates a deeper understanding of basic knowledge and skills in music and art, towards self-development, the
Grade 5
celebration of Filipino cultural identity and diversity, and expansion of one’s world vision.
Through application, the learner demonstrates understanding of the basic concepts of and processes in music and art, towards self-development, the
Grade 6
celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
The learner demonstrates basic understanding of the fundamental processes in music and the arts through performing, creating, listening and
Grade 7
observing, and responding towards appreciation of the cultural richness of the different provinces in the Philippines.
The learner demonstrates understanding of salient features of Asian music and the arts, through appreciation, analysis, and performance for
Grade 8
selfdevelopment, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
The learner demonstrates understanding of salient features of Western music and the arts from different historical periods, through appreciation,
Grade 9
analysis, and performance for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
The learner demonstrates understanding of salient features of contemporary music and the arts, through appreciation, analysis, and performance, for
Grade 10
selfdevelopment, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision.
schools.
GRADE 1
ELEMENTS OF MUSIC
PERFORMANCE LEARNING
CONTENT CONTENT STANDARDS STANDARDS LEARNING COMPETENCY CODE MATERIALS
FIRST QUARTER
I. RHYTHM demonstrates basic responds appropriately to Pilot School MTB-

understanding of sound, the pulse of the sounds MLE
1. Distinction Between silence and rhythm heard and performs with 1. identifies the difference
Sound and Silence accuracy the rhythmic between sound and silence MU1RH-Ia-1
2. Steady Beats patterns accurately
3. Simple Rhythmic
Patterns
4. Ostinato Pilot School MTBMLE
2. relates images to sound and Music, Arts, Physical

silence within a rhythmic MU1RH-Ib-2 Education and
pattern Health 2.Illagan,
Amelia M. et.al,
2013 pp.3-8
Pilot School MTBMLE

3. performs echo clapping MU1RH-Ib-3
4. maintains a steady beat when Pilot School MTBMLE

chanting, walking, tapping,
MU1RH-Ic-4
clapping, and playing musical
instruments
5. claps, taps, chants, walks and Pilot School MTBMLE
plays musical instruments
with accurate rhythm in
response to sound o in MU1RH-Ic-5
groupings of 2s o in

schools.
groupings of 3s o in
groupings of 4s
6. creates simple ostinato Pilot School MTB-

patterns in groupings of 2s, MLE
MU1RH-Id-e-6 Music, Arts, Physical
3s, and 4s through body
movements

schools.
K to 12 BASIC EDUCATION
CURRICULUM
I. RHYTHM demonstrates basic responds appropriately to Education and
understanding of sound, the pulse of the sounds Health 2.Illagan,
1. Distinction Between silence and rhythm heard and performs with Amelia M. et.al,
Sound and Silence accuracy the rhythmic 2013 pp.25-31
2. Steady Beats patterns 7. performs simple ostinato Pilot School MTBMLE
3. Simple Rhythmic patterns on other sound MU1RH-If-g-7
Patterns sources including body parts
4. Ostinato MU1RH-Ih-8 Pilot School MTBMLE
8. plays simple ostinato
patterns on classroom Music, Arts, Physical
instruments Education and
8.1 sticks, drums, triangles, Health 2.Illagan,
nails, coconut shells, Amelia M. et.al,
bamboo, empty boxes, etc. 2013 pp.32-33
SECOND QUARTER
II. MELODY demonstrates basic responds accurately to high 1. identifies the pitch of a tone as Pilot School MTBMLE
understanding of pitch and and low tones through body high or low
1. Pitch simple melodic patterns movements, singing, and Music, Arts, Physical
playing other sources of MU1ME-IIa-1 Education and
2. Simple Melodic
sounds Health 2.Illagan,
Patterns
Amelia M. et.al,
2013 pp.43-45
2. matches the correct pitch of Pilot School MTBMLE

tones with other sound
sources Music, Arts, Physical
MU1ME-IIb-2 Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.47-50

Learning Materials are uploaded at http://lrmds.deped.gov.ph/. *These materials are in textbooks that have been delivered
to schools.
CURRICULUM
3. sings simple melodic patterns Pilot School MTBMLE
3.1 ( so –mi, mi –so, mi – redo) MU1ME-IIb-3
4. matches the melody of a song Pilot School MTBMLE

with the correct pitch vocally
MU1ME-IIc-4 Music, Arts, Physical
II. MELODY demonstrates basic responds accurately to high 4.1 greeting songs Education and
understanding of pitch and and low tones through body 4.2 counting songs Health 2.Illagan,
1. Pitch simple melodic patterns movements, singing, and 4.3 action songs Amelia M. et.al,
2013 pp.52-55
1. Simple Melodic playing other sources of
Patterns sounds 5. sings in pitch Pilot School MTBMLE
5.1 rote singing
5.2 greeting songs Music, Arts, Physical
5.3 counting songs MU1ME-IIc-5 Education and
Health 2.Illagan,
5.4 echo singing
Amelia M. et.al,
2013 pp.52-55
III. FORM demonstrates basic responds with precision to 6. identifies with body Pilot School MTBMLE
understanding of the changes in musical lines movements the
1. Musical Lines concepts of musical lines, with body movements 6.1 beginnings
beginnings and endings in MU1FO-IId-1
2. Beginnings and 6.2 endings
Endings in Music music, and repeats in music 6.3 repeats of a recorded music
example

to schools.
CURRICULUM
3. Repeats in Music 7. identifies similar or dissimilar Pilot School MTBMLE
musical lines with the use of:
7.1 body movements Music, Arts, Physical
7.2 geometric shapes or MU1FO-IIe-2 Education and
objects Health 2.Illagan,
Amelia M. et.al,
2013 pp.72-76
8. relates basic concepts of Pilot School MTBMLE

musical forms to geometric
shapes to indicate Music, Arts, Physical
understanding of: MU1FO-IIf-3 Education and
8.1 same patterns Health 2.Illagan,
8.2 different patterns Amelia M. et.al,
2013 pp.72-76
9. chooses the exact geometric MU1FO-IIg-h-4 Pilot School MTBMLE

shapes that correspond to
musical form
THIRD QUARTER
IV. TIMBRE demonstrates distinguishes accurately the 1. identifies the source of Pilot School MTBMLE
understanding of the basic different sources of sounds sounds
1. Quality of Sound in concepts of timbre heard and be able to 1.1 wind, wave, swaying of the Music, Arts, Physical
Music produce a variety of timbres trees, animal sounds, MU1TB-IIIa-1 Education and
sounds produced by Health 2.Illagan,
2. Distinction Between
Amelia M. et.al,
Speaking and machines, transportation,
2013 pp.97-102
Singing through body movements

to schools.
CURRICULUM
2. responds appropriately to MU1TB-IIIa-2 Pilot School MTBMLE
differences in sounds heard
through body movement
3. replicates the sounds heard MU1TB-IIIb-3 Pilot School MTBMLE
from different sources
Music, Arts, Physical
Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.103-106
4. uses voice and other sources MU1TB-IIIb-4 Pilot School MTBMLE

of sound to produce a
variety of timbres
V. DYNAMICS demonstrates creatively interprets with 5. demonstrates dynamic changes Pilot School MTBMLE
MU1DY-IIIc-1
understanding of the basic body movements the with movements
1. Volume of Sound in concepts of dynamics dynamic levels to enhance
6. uses the terms loud and soft Pilot School MTBMLE
Music poetry, chants, drama, and MU1DY-IIIc-2
to identify volume changes
2. Distinction Between musical stories
7. relates the concepts of Pilot School MTBMLE
Loudness and
dynamics to the movements
Softness in Music
of animals Music, Arts, Physical
7.1 elephant walk – loud MU1DY-IIId-3 Education and
7.2 tiny steps of a mouse – Health 2.Illagan,
Amelia M. et.al,
soft
2013 pp.132-134
8. interprets with body Pilot School MTBMLE

movements the dynamics of MU1DY-IIIe-f-4
a song Music, Arts, Physical

to schools.
CURRICULUM
V. DYNAMICS demonstrates understanding creatively interprets with 8.1 small movement – soft Education and
of the basic concepts of body movements the 8.2 big movement –loud Health 2.Illagan,
Amelia M. et.al,
1. Volume of Sound in dynamics dynamic levels to enhance
2013 pp.132-134
Music poetry, chants, drama, and
2. Distinction Between musical stories 9. applies the concepts of Pilot School MTBMLE
Loudness and Softness in dynamic levels to enhance
poetry, chants, drama, and
Music MU1DY-IIIg-h-
musical stories
9.1 small movement – 5
soft
9.2 big movement – loud
FOURTH QUARTER
VI. TEMPO demonstrates performs with accuracy 1. mimics animal movements Pilot School MTB-
understanding of the basic varied tempi through 1.1 horse – fast MLE
1. Speed of Sound In concepts of tempo movements or dance steps 1.2 carabao – slow Music, Arts, Physical
Music to enhance poetry, chants, MU1TP-IVa-1 Education and
drama, and musical stories Health 2.Illagan,
2. Distinction Between Amelia M. et.al,
Fastness and Slowness 2013 pp.143-145
in Music
2. demonstrates the basic MU1TP-IVa-2 Pilot School MTBMLE
concepts of tempo through
movements Music, Arts, Physical
Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.137-140
3. responds to varied tempo Pilot School MTBMLE

with movements or dance
steps Music, Arts, Physical
3.1 slow movement with slow MU1TP-IVb-3 Education and
music Health 2.Illagan,
3.2 fast movement with fast Amelia M. et.al,
2013 pp.137-140
music

to schools.
CURRICULUM
4. relates tempo changes to Pilot School MTBMLE
MU1TP-IVb-4
movements
5. uses varied tempo to enhance Pilot School MTBMLE
poetry, chants, drama, and MU1TP-IVc-5
musical stories
VII. TEXTURE demonstrates sings songs to involve 6. identify sounds alone, sounds MU1TX-IVd-1 Pilot School MTBMLE
understanding of the basic oneself and experience the together
1. Distinction Between concepts of texture concept of texture 7. demonstrates awareness of Pilot School MTBMLE
Thinness and texture by using visual
Thickness in Music images Music, Arts, Physical
2. Single Melodic Line or MU1TX-IVe-2 Education and
Simultaneous Health 2.Illagan,
Occurrence of Multiple Amelia M. et.al,
Melodic Lines 2013 pp.154-159
8. distinguishes accurately Pilot School MTBMLE

between single musical line
and multiple musical lines Music, Arts, Physical
which occur simultaneously MU1TX-IVf-3 Education and
Health 2.Illagan,
in a given song
Amelia M. et.al,
2013 pp.160-162
9. demonstrates the concept of Pilot School MTBMLE

texture by singing two-part
round Music, Arts, Physical
MU1TX-IVg-h-4 Education and
9.1 Are You Sleeping, Brother
John? Health 2.Illagan,
9.2 Row, Row, Row Your Boat Amelia M. et.al,
2013 pp.160-162

to schools.
CURRICULUM
GRADE 2
ELEMENTS OF
MUSIC
FIRST QUARTER
I. RHYTHM demonstrates basic responds appropriately to 1. distinguishes aurally and Pilot School MTBMLE
understanding of sound, the pulse of sounds heard visually between sound and
1. Distinction Between silence and rhythmic and performs with accuracy silence Music, Arts, Physical
Sound and Silence patterns and develops the rhythmic patterns in MU2RH-Ia-1 Education and
musical awareness while expressing oneself Health 2.Illagan,
2. Steady Beats
performing the Amelia M. et.al,
3. Simple Rhythmic 2013 pp.3-8
fundamental processes in
Patterns
music
4. Ostinato 2. relates visual images to Pilot School MTBMLE
sound and silence within a
rhythmic pattern Music, Arts, Physical
MU2RH-Ib-2 Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.3-8
3. replicates a simple series of Pilot School MTBMLE

rhythmic sounds (i.e. echo
clapping) Music, Arts, Physical
MU2RH-Ib-3 Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.21-24

chanting, walking, tapping, MU2RH-Ic-4
clapping, and playing musical
instruments

to schools.
CURRICULUM
5. claps the written stick Pilot School MTBMLE
notation to show steady beats
5.1 divides the stick notations Music, Arts, Physical
into measures of 2s, 3s and MU2RH-Ic-5 Education and
4s to show rhythmic Health 2.Illagan,
Amelia M. et.al,
patterns
I. RHYTHM demonstrates basic responds appropriately to 2013 pp.25-31

understanding of sound, the pulse of sounds heard
1. Distinction Between silence and rhythmic and performs with accuracy 6. creates simple ostinato patterns Pilot School MTBMLE
Sound and Silence patterns and develops the rhythmic patterns in in measures of 2s, 3s, and 4s
expressing oneself with body Music, Arts, Physical
2. Steady Beats musical awareness while
movements MU2RH-Id-e-6 Education and
3. Simple Rhythmic performing the
Health 2.Illagan,
Patterns fundamental processes in Amelia M. et.al,
4. Ostinato music 2013 pp.25-31
7. writes stick notation on the Pilot School MTBMLE

board to represent the sound
heard Music, Arts, Physical
MU2RH-If-g-7 Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.22

to schools.
CURRICULUM
Pilot School MTBMLE
8. plays simple ostinato patterns Music, Arts, Physical

on classroom instruments Education and
8.1 sticks, drums, triangles, MU2RH-Ih-8 Health 2.Illagan,
nails, coconut shells, Amelia M. et.al,
bamboo, empty boxes, etc. 2013 pp.32-33
SECOND QUARTER
II. MELODY demonstrates basic performs with accuracy of 1. identifies the pitch of tones as Pilot School MTBMLE
understanding of pitch and pitch, the simple melodic 1.1 high
1. Pitch simple melodic patterns patterns through body 1.2 low Music, Arts, Physical
movements, singing or MU2ME-IIa-1 Education and
2. Simple Melodic 1.3 higher
playing musical instruments Health 2.Illagan,
Patterns 1.4 lower
Amelia M. et.al,
2013 pp.39-42
2. responds to ranges of pitch Pilot School MTBMLE

through body movements,
MU2ME-IIa-2 Music, Arts, Physical
singing, and playing sources
of sounds Education and
II. MELODY demonstrates basic performs with accuracy of Health 2.Illagan,

understanding of pitch and pitch, the simple melodic Amelia M. et.al,
2013 pp.43-44

to schools.
CURRICULUM
1. Pitch simple melodic patterns patterns through body 3. demonstrates high and low Pilot School MTBMLE
2. Simple Melodic movements, singing or pitches through singing or
Patterns playing musical instruments playing musical instruments Music, Arts, Physical
Education and
MU2ME-IIb-3 Health 2.Illagan,
Amelia M. et.al,
2013 pp.42-45, 47-
50
4. sings the following songs with Pilot School MTBMLE

accurate pitch:
4.1 wrote songs Music, Arts, Physical
4.2 echo songs MU2ME-IIb-4 Education and
4.3 simple children’s melodies Health 2.Illagan,
Amelia M. et.al,
2013 pp.52-55
5. echoes simple melodic patterns Pilot School MTBMLE

through singing or
humming Music, Arts, Physical
MU2ME-IIc-5 Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.54-55
6. demonstrates the melodic Pilot School MTBMLE

contour with movement
Health 2.Illagan,
Amelia M. et.al,
2013 pp.57-58
7. demonstrates the melodic Pilot School MTBMLE

contour through
1.7 body staff Music, Arts, Physical
MU2ME-IIc-7
1.8 writing the melodic line “on

to schools.
CURRICULUM
II. MELODY demonstrates basic performs with accuracy of the air” Education and
understanding of pitch and pitch, the simple melodic 1.9 line notation Health 2.Illagan,
1. Pitch simple melodic patterns patterns through body Amelia M. et.al,
movements, singing or 2013 pp.58-62
2. Simple Melodic
Patterns playing musical instruments 8. relates visual imagery to melodic Pilot School MTBMLE
patterns
Health 2.Illagan,
Amelia M. et.al,
2013 pp.63-65
III. FORM demonstrates performs a song, chosen 9. identifies the beginning and Pilot School MTBMLE
understanding of the basic from among the previously ending of a song
1. Musical Lines concepts of musical form learned songs that shows Music, Arts, Physical
the basic concepts of MU2FO-IId-1 Education and
2. Beginnings and
Health 2.Illagan,
Endings in Music musical lines, beginnings,
Amelia M. et.al,
3. Repeats in Music endings and repeats 2013 pp.78-82
through body movement,
vocal sounds, and 10. demonstrates the beginning Pilot School MTBMLE
instrumental sounds and ending of a song with
10.1 movements Music, Arts, Physical
10.2 vocal sounds MU2FO-IId-2 Education and
10.3 instrumental sounds Health 2. Illagan,
Amelia M. et.al,
2013 pp.78-82

to schools.
CURRICULUM
11. identifies musical lines as Pilot School MTBMLE
11.1 similar
11.2 dissimilar with Music, Arts, Physical
movements and with the MU2FO-IIe-3 Education and
Health 2. Illagan,
use geometric shapes or
Amelia M. et.al,
objects 2013 pp.72-76
12. demonstrates repeated musical Pilot School MTBMLE

lines with movements MU2FO-IIe-4
Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.84-88
13. recognizes repetitions within a Pilot School MTBMLE
MU2FO-IIf-5
song
14. creates melodic introduction Pilot School MTBMLE
MU2FO-IIg-h-6
and ending of songs
15. creates rhythmic introduction Pilot School MTBMLE
MU2FO-IIg-h-7
and ending of songs
THIRD QUARTER
IV. TIMBRE demonstrates determines accurately the 1. identifies the source of sounds Pilot School MTBMLE
understanding of the basic sources of sounds heard, e.g. winds, waves swaying of
1. Quality of Sound in concepts of timbre and produce sounds using the trees, animals sounds, Music, Arts, Physical
Music voice, body, and objects, MU2TB-IIIa-1 Education and
sounds produced by
and be able to sing in Health 2. Illagan,
2. Introduction to Voice machines, transportation, etc.
accurate pitch Amelia M. et.al,
Production
2013 pp.97-102

to schools.
CURRICULUM
3. Differentiation in 2. replicates different sources of Pilot School MTBMLE
Sound Quality sounds with body movements
4. Introduction to Music, Arts, Physical
Musical Instruments MU2TB-IIIa-2 Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.103-106
3. identifies the common musical Pilot School MTBMLE

instruments by their sounds
and image Music, Arts, Physical
MU2TB-IIIb-3 Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.108-111
4. recognizes the difference Pilot School MTBMLE

between speaking and singing
MU2TB-IIIc-4 Music, Arts, Physical
IV. TIMBRE demonstrates determines accurately the Education and

understanding of the basic sources of sounds heard, Health 2. Illagan,
Amelia M. et.al,
1. Quality of Sound in Music concepts of timbre and produce sounds using
2013 pp.112-115
2. Introduction to Voice voice, body, and objects,
Production and be able to sing in 5. sings songs with accurate pitch Pilot School MTBMLE
3. Differentiation in Sound accurate pitch and pleasing vocal quality
Quality Music, Arts, Physical
4. Introduction to Musical MU2TB-IIIc-5 Education and
Health 2. Illagan,
Instruments
Amelia M. et.al,
2013 pp.121-122

to schools.
CURRICULUM
6. produces sounds using voice, Pilot School MTBMLE
body, and objects to enhance MU2TB-IIId-6
a given story
V. DYNAMICS demonstrates creatively applies changes 7. interprets through body Pilot School MTBMLE
understanding of the basic in dynamics to enhance movements the dynamics of a
1. Volume of Sound in concepts of dynamics rhymes, chants, drama, and song Music, Arts, Physical
Music musical stories MU2DY-IIIc-1 Education and
Health 2. Illagan,
Amelia M. et.al,
Loudness and 2013 pp.132-139
Softness in Music
8. distinguishes between “loud”, Pilot School MTBMLE
“louder”, “soft” and “softer” in
music Music, Arts, Physical
MU2DY-IIIc-2 Education and
Health 2.Illagan,
Amelia M. et.al,
2013 pp.132-134
9. relates movements of animals Pilot School MTBMLE

to dynamics E.g.
elephant walking – loud Music, Arts, Physical
dog walking – medium tiny MU2DY-IIIc-3 Education and
steps of a mouse - soft Health 2. Illagan,
Amelia M. et.al,
2013 pp.132-134
10. uses the words loud, louder, MU2DY-IIIc-4 Pilot School MTB-
V. DYNAMICS demonstrates soft, softer – to identify MLE

understanding of the basic variations in volume

to schools.
CURRICULUM
1. Volume of Sound in Music concepts of dynamics creatively applies changes 11. replicates “loud,” “medium,” Pilot School MTBMLE
2. Distinction Between in dynamics to enhance and “soft” with voice or with
Loudness and Softness rhymes, chants, drama, and instruments Music, Arts, Physical
MU2DY- Education and
in Music musical stories
IIId,e,h-5 Health 2. Illagan,
Amelia M. et.al,
2013 pp.130-131
12. sings a given song with Pilot School MTBMLE

MU2DY-IIIf-h-6
appropriate dynamics
FOURTH QUARTER
VI. TEMPO demonstrates uses varied tempito 1. mimics animal movements Pilot School MTBMLE
understanding of the basic enhance rhymes, chants, 1.1 horse – fast
1. Speed of Sound In concepts of tempo drama, and musical stories 1.2 carabao – moderate Music, Arts, Physical
MU2TP-IVa-1 Education and
Music 1.3 turtle – slow
Health 2. Illagan,
Amelia M. et.al,
Fastness and 2013 pp.143-145
Slowness in Music
2. responds to the accurate tempo Pilot School MTBMLE
of a song as guided by the
hand signal of the teacher E.g. Music, Arts, Physical
The teacher’s slow hand Education and
MU2TP-IVa-2 Health 2. Illagan,
movement means “slow”,
Amelia M. et.al,
while fast hand movement
2013 pp.147-148
means “fast”.
3. demonstrates changes in tempo Pilot School MTBMLE

with movements
MU2TP-IVa-3 Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.147-148
4. responds to variations in MU2TP-IVb-4

Pilot School MTBMLE

to schools.
CURRICULUM
VI. TEMPO demonstrates uses varied tempito tempo with dance steps
understanding of the basic enhance rhymes, chants, 4.1 slow movement with slow Music, Arts, Physical
1. Speed of Sound In concepts of tempo drama, and musical stories music Education and
Music 4.2 s music Health 2. Illagan,
2. Distinction Amelia M. et.al,
Between
2013 pp.137-140
Fastness and Slowness
in Music 5. distinguishes “slow,” Pilot School MTBMLE
“slower,”“fast,” and “faster” in
recorded music with voice or Music, Arts, Physical
with instruments MU2TP-IVb-5 Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.137-140
6. uses the terms “fast,” Pilot School MTBMLE

“faster,” “slow,” and “slower”
to identify variations in tempo Music, Arts, Physical
MU2TP-IVb-6 Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.145
7. replicates “slow,” Pilot School MTBMLE

“slower,”“fast,” and “faster”
with voice or with Music, Arts, Physical
instruments MU2TP-IVc-7 Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.137-140

to schools.
CURRICULUM
VII. TEXTURE demonstrates distinguishes accurately 8. identifies musical texture with Pilot School MTBMLE
understanding of the basic between single musical line recorded music E.g.
1. Single Melodic Line or concepts of texture and multiple musical lines 8.1 melody with single Music, Arts, Physical
Simultaneous which occur simultaneously instrument or voice Education and
Occurrence of Multiple in a given song 8.2 single melody with MU2TX-IVd-f-1 Health 2. Illagan,
accompaniment Amelia M. et.al,
Melodic Lines
8.3 two or more melodies sung 2013 pp.151-152
Thinness and or played together at the
Thickness in Music
VII. TEXTURE demonstrates understanding distinguishes accurately same time
of the basic concepts of between single musical line
1. Single Melodic Line or texture and multiple musical lines 9. shows awareness of texture by Pilot School MTBMLE
Simultaneous which occur simultaneously in relating visual images to
Occurrence of Multiple a given song recorded or performed music Music, Arts, Physical
MU2TX-IVd-f-2 Education and
Melodic Lines
Health 2. Illagan,
2. Distinction Between Amelia M. et.al,
Thinness and 2013 pp.154-159
Thickness in Music
10. distinguishes between single Pilot School MTBMLE
musical line and multiple
musical lines which occur Music, Arts, Physical
simultaneously MU2TX-IVd-f-3 Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.156-161

to schools.
CURRICULUM
11. distinguishes between thinness Pilot School MTBMLE
and thickness of musical sound
in recorded or Music, Arts, Physical
performed music MU2TX-IVg-h-4 Education and
Health 2. Illagan,
Amelia M. et.al,
2013 pp.160-162
GRADE 3
ELEMENTS OF
MUSIC
FIRST QUARTER
I. RHYTHM demonstrates 1. performs simple 1. relates images with sound and Pilot School MTBMLE
understanding of the basic ostinato silence within a rhythmic
1. Sound and Silence concepts of rhythm patterns/simple pattern *Tunog, Tinig,
rhythmic Tugtog at Likhang
2. Steady Beats
accompaniments on Sining 3. Nera, Fe
3. Simple Rhythmic
classroom instruments MU3RH-Ia-1 C. et al, 2000 pp.1-
Pattern 4
and other sound
4. Ostinato
sources to a given song
*Musika at Sining 3.
2. sings songs with correct Sunico, Raul M. et
rhythm al, 2000 pp.3-8
chanting, walking, tapping,
clapping, and playing musical MU3RH-Ib-h-2
instruments

to schools.
CURRICULUM
3. claps, taps, chants, walks, Pilot School MTBMLE
and plays musical instruments
in response to sound with the
correct rhythm
3.1 in measures of 2s, 3s, and MU3RH-Ia-c-3
4s
3.2 echo clapping
3.3 marching
3.4 dancing the waltz
4. claps the written stick notation Pilot School MTBMLE
on the board representing the
MU3RH-Id-4
sound heard
5. plays simple ostinato patterns Pilot School MTBMLE

with classroom instruments
and other sound sources MU3RH-Id-h-5

to schools.
CURRICULUM
I. RHYTHM demonstrates 1. performs simple 6. creates simple ostinato patterns Pilot School MTB-
understanding of the basic ostinato in measures of 2s, 3s, and 4s MLE
1. Sound and Silence concepts of rhythm patterns/simple through body movements
2. Steady Beats rhythmic *Tunog, Tinig,
accompaniments on Tugtog at Likhang
3. Simple Rhythmic
classroom instruments Sining 3. Nera, Fe
Pattern
and other sound C. et al, 2000
4. Ostinato
sources to a given song pp.614
MU3RH-Ie-6
2. sings songs with correct *Musika at Sining 3.
rhythm Sunico, Raul M. et
al, 2000 pp.14-25
*Umawit at Gumuhit
3.
Valdecantos,
Emelita C. 1997.
pp.12-26
7. creates ostinato patterns in Pilot School MTBMLE
different meters using
combination of different MU3RH-If-7 *Musika at Sining 3.
sound sources Sunico, Raul M. et
al, 2000 pp.14-25
SECOND QUARTER

to schools.
CURRICULUM
II. MELODY demonstrates sings the melody of a song 1. identifies the pitch of a tone Pilot School MTBMLE
understanding of the basic with accurate pitch as:
1. Pitch concepts of melody 1.1 high – higher *Tunog, Tinig,
1.2 moderately high – higher Tugtog at Likhang
2. Melodic Lines
1.3 moderately low – lower Sining 3. Nera, Fe
3. Melodic Patterns C. et al, 2000 pp.28-
andContour 1.4 low – lower
34
MU3ME-IIa-1
Sunico, Raul M. et
al, 2000 pp.52-56
*Umawit at Gumuhit
3.
II. MELODY demonstrates sings the melody of a song Valdecantos,
understanding of the basic with accurate pitch Emelita C. 1997.
1. Pitch concepts of melody pp.33-37
2. Melodic Lines 2. matches the correct pitch of Pilot School MTBMLE
3. Melodic Patterns tones
andContour 2.1 with the voice *Tunog, Tinig,
2.2 with an instrument Tugtog at Likhang
Sining 3. Nera, Fe
MU3ME-IIa-2 C. et al, 2000 pp.30-
31
Sunico, Raul M. et
al, 2000 pp.58-59

to schools.
CURRICULUM
3. relates movements with levels Pilot School MTBMLE
of pitch
*Tunog, Tinig,
MU3ME-IIb-3 Tugtog at Likhang
Sining 3. Nera, Fe
C. et al, 2000 pp.31
4. matches the voice with the Pilot School MTBMLE

MU3ME-IIb-c-4
pitches of a melody
5. recreates simple patterns and Pilot School MTBMLE
MU3ME-IIb-5
contour of a melody
6. sings entire simple songs with Pilot School MTBMLE
accurate pitch
6.1 Favorite Children’s Songs
6.1.1 “Do – Re – Mi”
6.1.2 “What Can We Do
Today”
6.2 Folksongs MU3ME-IIc-6
6.2.1 “Manang Biday”
6.2.2 “Paruparong Bukid”
6.2.3 “Atin Cu Pung
Singsing”
III. FORM demonstrates sings, plays, and performs 7. identifies the beginning, middle, Pilot School MTBMLE
MU3FO-IId-1
understanding of the basic (through body movements) and ending of a song

to schools.
CURRICULUM
1. Musical Lines concepts of musical form a chosen song showing the 8. identifies musical lines as Pilot School MTBMLE
2. Musical Beginning, basic concepts of musical 8.1 similar
Middle, and End lines, beginnings, endings 8.2 same *Tunog, Tinig,
3. Repeats in music and repeats 8.3 different through Tugtog at Likhang
Sining 3. Nera, Fe
movements and geometric
MU3FO-IId-2 C. et al, 2000 pp.62-
shapes or objects 68
Sunico, Raul M. et
al, 2000 pp.96-100
9. recognizes repetitions within a Pilot School MTBMLE
song
*Tunog, Tinig,
Tugtog at Likhang
Sining 3. Nera, Fe
MU3FO-IId-3 C. et al, 2000 pp.64-
68
Sunico, Raul M. et
al, 2000 pp.102-103
10. sings repetitions of musical Pilot School MTBMLE
lines independently
*Tunog, Tinig,
MU3FO-IIe-4 Tugtog at Likhang
Sining 3. Nera, Fe
C. et al, 2000 pp.66-
68
11. plays repetitions of musical Pilot School MTBMLE

MU3FO-IIf-5
lines
12. renders a song confidently, Pilot School MTBMLE
giving appropriate emphasis MU3FO-IIg-h-6
on the beginning and on the

to schools.
CURRICULUM
ending
THIRD QUARTER
IV. TIMBRE demonstrates applies vocal techniques in 1. recognizes differences in sound Pilot School MTBMLE
understanding of the basic singing to produce a quality coming from a variety
1. Voice Production concepts of timbre pleasing vocal quality: of sound sources *Musika at Sining 3.
1. using head tones MU3TB-IIIa-1 Sunico, Raul M. et
Techniques
2. employing proper al, 2000 pp.129134.
2. Variation in Sound
breathing Pp.135-140
Quality
2.1 Similar 3. using the diaphragm
2. responds to differences in sound Pilot School MTBMLE
2.2 Different quality with appropriate
3. Introduction to Musical movement *Tunog, Tinig,
Instruments Tugtog at Likhang
Sining 3. Nera, Fe
C. et al, 2000 pp.58-
MU3TB-IIIa-2 79
Sunico, Raul M. et
al, 2000 pp.129134,
pp.135-140

to schools.
CURRICULUM
3. recognizes musical instruments Pilot School MTBMLE
through sound
*Tunog, Tinig,
Tugtog at Likhang
Sining 3. Nera, Fe
C. et al, 2000 pp.74-
MU3TB-IIIb-3 79
Sunico, Raul M. et
al, 2000 pp.129-
134, pp.135-140
4. identifies and compares the Pilot School MTBMLE

voices of:
4.1 classmates as they sing or MU3TB-IIIb-4 *Tunog, Tinig,
III. TIMBRE demonstrates applies vocal techniques in speak Tugtog at Likhang

understanding of the basic singing to produce a 4.2 selected popular singers in Sining 3. Nera, Fe
1. Voice Production concepts of timbre pleasing vocal quality: recordings C. et al, 2000 pp.72-
1. using head tones 73
Techniques
2. Variation in Sound 2. employing proper
breathing *Manwal ng Guro
Quality
3. using the diaphragm Umawit at Gumuhit
2.1 Similar 3. Valdecantos,
2.2 Different Emelita C. 1997.
pp.64-68

to schools.
CURRICULUM
3. Introduction to Musical 5. compares the use of the voice in Pilot School MTBMLE
Instruments speaking and in singing
*Tunog, Tinig,
Tugtog at Likhang
Sining 3. Nera, Fe
C. et al, 2000 pp.70-
72
MU3TB-IIIb-5 *Musika at Sining 3.

Sunico, Raul M. et
al, 2000 pp.125-128
*Manwal ng Guro
Umawit at Gumuhit
3. Valdecantos,
Emelita C. 1997.
pp.64
6. uses the voice and other sources
of sound to produce a variety *Manwal ng Guro
of timbres Umawit at Gumuhit
MU3TB-IIIc-6 3. Valdecantos,
Emelita C. 1997.
pp.64
IV. DYNAMICS demonstrates sings songs with proper 7. interprets the dynamics of a Pilot School MTBMLE
understanding of the basic dynamics following basic song through body movements
1. Volume of Sound in concepts of dynamics in conducting gestures *Tunog, Tinig,
Music order to respond to 7.1 small movement – MU3DY-IIId-1 Tugtog at Likhang
2. Conducting and conducting gestures using soft
7.2 big movement –
loud

to schools.
CURRICULUM
Dynamics symbols indicating Sining 3. Nera, Fe
variances in dynamics C. et al, 2000.
pp.82-86
8. distinguishes “loud,” Pilot School
“medium,” and “soft” in music MTBMLE
*Tunog, Tinig,
MU3DY-IIId-2
Tugtog at Likhang
Sining 3. Nera, Fe
C. et al, 2000.
pp.82-86
9. relates dynamics to the Pilot School
movements of animals MTBMLE
e.g. MU3DY-IIId-3
9.1 elephant walking – loud
9.2 mice scurrying – soft
10. uses terms “loud,” “medium,” Pilot School
and “soft” (louder, softer) to MTBMLE
identify changes and
*Manwal ng Guro
variations in volume MU3DY-IIIe-4
Umawit at Gumuhit
3. Valdecantos,
Emelita C. 1997.
pp.73
11. responds to conducting Pilot School
gestures of the teacher for MTBMLE
“loud” and “soft”
E.g. *Umawit at
11.1 Teacher’s palm down Gumuhit 3.
MU3DY-IIIe-h-
Valdecantos,
means “soft” and palm up 5 Emelita C. 1997.
means “loud.”
pp.73-75
11.2 Hands moving farther from
each other mean sound
becomes louder.

to schools.
CURRICULUM
12. uses varied dynamics to Pilot School
enhance poetry, chants, MTBMLE
MU3DY-IIIf-h6
drama, songs and musical
stories
FOURTH QUARTER
V. TEMPO demonstrates enhances performance of 1. mimics animal movements Pilot School MTBMLE
understanding of the poetry, chants, drama, according to speed
1. Speed of Sound in concepts of tempo in order musical stories, and songs 1.1 horse – fast
Music to respond to conducting by using a variety of tempo 1.2 carabao – slow MU3TP-IVa-1
1.1 Fast symbols indicating 1.3 turtle – slow
1.2 Slow variations in tempo 1.4 rabbit - fast
2. Conducting and Tempo 1.5 dog – fast
2. sings songs with proper tempo Pilot School MTBMLE
following basic conducting
gestures *Tunog, Tinig,
Tugtog at Likhang
Sining 3. Nera, Fe
C. et al, 2000 pp.88-
MU3TP-IVa-2 89
*Umawit at Gumuhit
3.
Valdecantos,
Emelita C. 1997.
pp.75-80

to schools.
CURRICULUM
3. relates movement to changes Pilot School MTBMLE
and variations in tempo
*Tunog, Tinig,
MU3TP-IVb-3 Tugtog at Likhang
Sining 3. Nera, Fe
C. et al, 2000 pp.88-
93
4. responds with movement to Pilot School MTBMLE

tempo changes
4.1 (i.e. doing locomotor and *Tunog, Tinig,
MU3TP-IVb-c-4 Tugtog at Likhang
non-locomotor movements)
to a variety of tempo in Sining 3. Nera, Fe
C. et al, 2000 pp.90
recorded music
5. distinguishes among fast, Pilot School MTBMLE
moderate, and slow in music
MU3TP-IVb-5
V. TEMPO demonstrates enhances performance of

understanding of the poetry, chants, drama, *Tunog, Tinig,
1. Speed of Sound in concepts of tempo in order musical stories, and songs Tugtog at Likhang
Music to respond to conducting by using a variety of tempo Sining 3. Nera, Fe
C. et al, 2000 pp.88-
1.1 Fast
93

to schools.
CURRICULUM
1.2 Slow symbols indicating 6. uses the terms: fast, moderate, Pilot School MTBMLE
2. Conducting and Tempo variations in tempo and slow, (faster, slower etc.)
to identify tempo changes and *Tunog, Tinig,
variations Tugtog at Likhang
Sining 3. Nera, Fe
C. et al, 2000 pp.88-
93
*Musika at Sining
MU3TP-IVb-6 3.Sunico, Raul M. et
al, 2000. pp.111123
*Manwal ng Guro
Umawit at Gumuhit
3. Valdecantos,
Emelita C. 1997.
pp.75
7. sings songs with designated Pilot School MTBMLE

tempo
E.g. *Tunog, Tinig,
7.1 Lullaby – slow MU3TP-IVa-c-7 Tugtog at Likhang
7.2 Joyful songs – fast Sining 3. Nera, Fe
C. et al, 2000 pp.88-
93
VI. TEXTURE demonstrates sings 8. demonstrates the concept of Pilot School MTBMLE
understanding of the basic 1. “two-part rounds” texture by singing “two-part
1. Single Melodic Line or concepts of texture 2. “partner songs” rounds”
E.g. MU3TX-IVd-f-1
Simultaneous
Occurrence of Multiple 8.1 “Are You Sleeping, Brother
Melodic Lines John?”

to schools.
CURRICULUM
2. Distinction Between 8.2 “Row, Row, Row Your Boat”
Thinness and 8.3 “Musika Ay Di Kukupas”
Thickness in Music 9. demonstrates the concept of Pilot School MTBMLE
texture by singing “partner songs E.g.
9.1 “Leron, Leron Sinta”
9.2 “Pamulinawen”
9.3 “It’s A Small World” MU3TX-IVd-f-2
9.4 “He’s Got the Whole World in
His Hands
10. distinguishes between single Pilot School MTBMLE

musical line and multiple
MU3TX-IVd-f-3
musical lines which occur
simultaneously
11. distinguishes between Pilot School MTBMLE
MU3TX-IVg-h-
thinness and thickness of
4
musical sound

to schools.
CURRICULUM
GRADE 4
ELEMENTS OF
MUSIC
FIRST QUARTER
I. RHYTHM demonstrates creates rhythmic patterns 1. identifies different kinds of notes MISOSA4module6,7
understanding of concepts in:
pertaining to rhythm and 1. simple time signatures MU4RH-Ia-1
1. Musical Symbols and MISOSA5module1
Concepts: musical symbols 2. simple one-measure
1.1 Notes and Rests ostinato pattern and rests *Manwal ng
1.2 Meters Guro Umawit at
1.3 Rhythmic Patterns Gumuhit 4.
1.4 Simple Time Valdecantos,
Signatures Emelita C.
1.5 Ostinato 1999. pp.7-9
2. organizes notes and rests MISOSA4module8

according to simple meters
(grouping notes and rests into *Umawit at Gumuhit
measures given simple 4.
MU4RH-Ib-2
meters) Valdecantos,
Emelita C.
1999. pp.8-12
3. states the meaning of the MISOSA4module2,8

different rhythmic patterns MU4RH-Ic-3

to schools.
CURRICULUM
4. demonstrates the meaning of MISOSA4module3,4,5
rhythmic patterns by clapping
in time signatures *Manwal ng
234 Guro Umawit at
MU4RH-Ic-4 Gumuhit 4.
Valdecantos,
4,
Emelita C.
4, 4
1999. pp.7
I. RHYTHM demonstrates creates rhythmic patterns
understanding of concepts in:
1. Musical Symbols and pertaining to rhythm and 1. simple time signatures
Concepts: musical symbols 2. simple one-measure
1.1 Notes and Rests ostinato pattern
1.2 Meters 5. uses the bar line to indicate MISOSA4module3,4,5
1.3 Rhythmic Patterns groupings of beats in
1.4 Simple Time 234
MU4RH-Ic-5
Signatures 4, 4, 4
1.5 Ostinato
6. identifies accented and MISOSA4module1

unaccented pulses MU4RH-Id-6
7. places the accent (>) on the

notation of recorded music MU4RH-Id-7

to schools.
CURRICULUM
8. responds to metric pulses of MU4RH-Ie-g-8 MISOSA4module3,4
music heard with appropriate
con MISOSA5module6
9. ducting gestures

to schools.
PERFORMANCE
CURRICULUM LEARNING
SECOND QUARTER
II. MELODY recognizes the musical analyzes melodic 1. identifies the pitch name of each MISOSA4module13
symbols and movement and range and line and space of the G-
1. Musical Symbols and demonstrates be able to create and clef staff
Concepts: understanding of perform simple melodies F
1.1 Intervals concepts D
1.2 Scales pertaining to melody B
G
1.3 Melodic Contours
E
1.4 Patterns of successive MU4ME-IIa-1
pitches of a C Major
scale
E
C
A
F
2. identifies the pitch names of MISOSA4module13,14

notes on the ledger lines and
spaces below the G-clef staff
(middle C and D)
MU4ME-IIb-2

to schools.
CURRICULUM
3. recognizes the meaning and use MISOSA4module13
of G- Clef
MU4ME-IIc-3
do re mi fa so la ti do

to schools.
CURRICULUM
recognizes the musical analyzes melodic 4. identifies the movement of the MISOSA4module10
II. MELODY symbols and demonstrates movement and range and melody as:
understanding of concepts be able to create and MISOSA5module8
1. Musical Symbols and pertaining to melody perform simple melodies - no movement
Concepts: *Manwal ng
1.1 Intervals Guro Umawit
1.2 Scales at Gumuhit 4.
1.3 Melodic Contours Valdecantos,
- ascending stepwise Emelita C.
1.4 Patterns of successive
1999. pp.28-
pitches of a C Major
scale 30
- descending stepwise
MU4ME-IId-4
- ascending skip wise
- descending skip wise

to schools.
CURRICULUM
5. identifies the highest and lowest MISOSA4module9
pitch in a given notation of a
musical piece to determine its *Manwal ng
range Guro Umawit
at Gumuhit 4.
MU4ME-IIe-5
Valdecantos,
Emelita C.
II. MELODY 1999. pp.2430
recognizes the musical analyzes melodic
1. Musical Symbols and symbols and demonstrates movement and range and 6. sings with accurate pitch the MISOSA4module12
Concepts: understanding of concepts be able to create and simple intervals of a melody
1.1 Intervals pertaining to melody perform simple melodies *Manwal ng
1.2 Scales Guro Umawit at
1.3 Melodic Contours MU4ME-IIf-6 Gumuhit 4.
1.4 Patterns of successive Valdecantos,
pitches of a C Major Emelita C. 1999.
scale pp.24-31
7. performs his/her own created MISOSA4module12

melody
*Manwal ng
MU4ME-IIg-h- Guro Umawit at
7 Gumuhit 4.
Valdecantos,
Emelita C. 1999.
pp.30

to schools.
CURRICULUM
THIRD QUARTER
III. FORM demonstrates performs similar and 1. identifies aurally and MISOSA4module16,17
understanding of musical contrasting musical visually the introduction
1. Phrases in a Musical Piece phrases, and the uses and phrases and coda (ending) of a *Manwal ng
2. Structure of Musical Sound meaning of musical terms musical piece Guro Umawit at
2.1 Antecedent (Question) in form MU4FO-IIIa-1 Gumuhit 4.
Phrase Valdecantos,
2.2 Consequent (Answer) Emelita C. 1999.
Phrase pp.38-39
2.3 Introduction
2.4 CODA (ending)Phrase 2. identifies aurally and visually
the antecedent and MU4FO-IIIa-2

consequent in a musical piece
3. listens to similar and
contrasting phrases in MU4FO-IIIab-3
recorded music
4. identifies similar and
contrasting phrases in vocal
and instrumental music from
MU4FO-IIIc-4
the previous lessons
4.1 melodic
4.2 rhythmic
5. sings similar and contrasting
phrases in music
5.1 melodic MU4FO-IIId-5
5.2 rhythmic

to schools.
CURRICULUM
IV. TIMBRE demonstrates participates actively in a 6. distinguishes vocal and MISOSA4module18
understanding of group performance to instrumental sounds
1. Variations of Sound variations of sound in demonstrate different *Manwal ng
1.1 Vocal music (lightness and vocal and instrumental Guro Umawit at
1.2 Instrumental heaviness) as applied to sounds MU4TB-IIIe-1 Gumuhit 4.
vocal and instrumental Valdecantos,
music Emelita C. 1999.
pp.39-49
7. identifies as vocal or MU4TB-IIIe-2 MISOSA4module19

instrumental, a recording of
the following:
7.1 solo
7.2 duet
7.3 trio
7.4 ensemble
8. identifies aurally and visually MU4TB-IIIf-3 MISOSA4module19
different instruments
*Manwal ng
Guro Umawit at
Gumuhit 4.
Valdecantos,
Emelita C. 1999.
pp.45-49

to schools.
CURRICULUM
IV. TIMBRE demonstrates participates actively in a 9. classifies the various musical MISOSA4module19
understanding of group performance to instruments as:
1. Variations of Sound variations of sound in demonstrate different 9.1 string *Manwal ng
1.1 Vocal music (lightness and vocal and instrumental 9.2 woodwind Guro Umawit
1.2 Instrumental heaviness) as applied to sounds 9.3 brass wind at Gumuhit 4.
MU4TB-IIIf-h4
vocal and instrumental 9.4 percussion Valdecantos,
music Emelita C.
1999. pp.45-
49
V. DYNAMICS recognizes the musical applies forte and piano 10. recognizes the use of the MISOSA4module20
symbols and demonstrates to designate loudness and symbol p (piano) and f (forte)
1. Volume of Sound in understanding of concepts softness in a musical in a musical score *Manwal ng
Music pertaining to volume in example Guro Umawit
music 1. singing at Gumuhit 4.
MU4DY-IIIf-1
2. playing instrument Valdecantos,
Emelita C.
1999. pp.52-
54
11. uses appropriate musical MISOSA4module20

terminology to indicate simple
dynamics *Manwal ng
11.1 forte Guro Umawit at
11.2 piano MU4DY-IIIf-h2 Gumuhit 4.
Valdecantos,
Emelita C. 1999.
pp.52-54
FOURTH QUARTER

to schools.
CURRICULUM
VI. TEMPO demonstrates creates and performs 1. relates body movements to the MISOSA4module21
understanding of body movements tempo of a musical example
1. Speed / Flow of Music concepts pertaining to appropriate to a given *Manwal ng
MU4TP-IVa-1
speed/flow of music tempo Guro Umawit at
demonstrates creates and performs Gumuhit 4.
understanding of concepts body movements
pertaining to speed/flow of appropriate to a given Valdecantos,

music tempo Emelita C.
1999. pp.57
2. uses appropriate musical MISOSA4module21
terminology to indicate
variations in tempo *Manwal ng
2.1 largo Guro Umawit at
2.2 presto MU4TP-IVb-2 Gumuhit 4.
Valdecantos,
Emelita C. 1999.
pp.56
VII. TEXTURE demonstrates sings two-part rounds 3. identifies aurally the texture of a
MU4TX-IVc-1
understanding of concepts and partner songs with music example
1. Simultaneous pertaining to texture in others 4. identifies aurally and visually
Occurrence of Multiple music
an ostinato or descant in MU4TX-IVd-2
Melodic Lines a musical example
5. recognizes aurally and visually, *Manwal ng
Thinness and
examples of 2-part vocal or Guro Umawit at
Thickness in Music
instrumental music Gumuhit 4.
MU4TX-IVe-3
Valdecantos,
Emelita C. 1999.
pp.59-63

to schools.
CURRICULUM
VIII. HARMONY demonstrates performs examples of 6. identifies harmonic interval (2 *Manwal ng
understanding of harmonic interval with pitches) in a musical example Guro Umawit at
1. Simultaneous Sounding harmonic intervals others Gumuhit 4.
MU4HA-IVf-1
of Two Valdecantos,
Tones / Pitches Emelita C. 1999.
pp.59-63
7. recognizes aurally and visually, *Manwal ng
examples of harmonic intervals Guro Umawit at
Gumuhit 4.
MU4HA-IVg-2 Valdecantos,
Emelita C. 1999.
pp.59-63
8. creates examples of harmonic *Manwal ng

interval (2 pitches) with others Guro Umawit at
Gumuhit 4.
MU4HA-IVh-3
Valdecantos,
Emelita C. 1999.
pp.59-63
GRADE 5
ELEMENTS OF MUSIC
FIRST QUARTER

to schools.
CURRICULUM
I. RHYTHM recognizes the musical performs with a 1. identifies visually and aurally MISOSA5module1,2
symbols and demonstrates conductor, a speech the kinds of notes and rests
Musical Symbols and understanding of concepts chorus in simple time in a song MU5RH-Ia-b-1 *Musika at Sining 5.
Concepts pertaining to rhythm signatures Sunico, Raul M. et
1. Notes and Rests 1. choral al, 2000. pp.8
2. Meters 2. instrumental
3. Rhythmic Patterns 2. recognizes rhythmic patterns MISOSA5module7,2
4. Simple Time using quarter note, half
Signatures note, dotted half note,
MU5RH-Ia-b-2
dotted quarter note, and
eighth note in simple time
signatures
3. identifies accurately the MISOSA5module3,4,5
duration of notes and rests
in 234 *Musika at Sining 5.
MU5RH-Ic-e-3 Sunico, Raul M. et
4, 4, 4
al, 2000. pp.8-10
time signatures

to schools.
CURRICULUM
4. creates different rhythmic MISOSA5-module7
patterns using notes and
rests in time signatures as: MISOSA4-module8
234
4, 4, 4 *Musika at Sining 5.
Sunico, Raul M. et
MU5RH-If-g-4 al, 2000. pp.8-10
*Manwal ng Guro
Umawit at Gumuhit
3. Valdecantos,
Emelita C. 1999.
pp.4-9
I. RHYTHM recognizes the musical performs with a 5. responds to metric pulses MU5RH-Ih-5 MISOSA5module6,7
symbols and demonstrates conductor, a speech of music heard with
Musical Symbols and understanding of concepts chorus in simple time appropriate conducting *Musika at Sining 5.
Concepts pertaining to rhythm signatures gestures Sunico, Raul M. et
3. Notes and Rests 1. choral al, 2000. pp.4-6
4. Meters 2. instrumental
5. Rhythmic Patterns *Manwal ng Guro
6. Simple Time Umawit at Gumuhit
Signatures 3. Valdecantos,
Emelita C. 1999.
pp.4-6
SECOND QUARTER

to schools.
CURRICULUM
II. MELODY recognizes the musical accurate performance 1. recognizes the meaning and
symbols and demonstrates of songs following the uses of
Musical Symbols and understanding of concepts musical symbols
Concepts pertaining to melody pertaining to melody
1. Accidentals indicated in the piece MU5ME-IIa-1
F-Clef on the staff
2. F-Clef

to schools.
CURRICULUM

to schools.
CURRICULUM
MELODY
3rd
Musical Symbols and
Concepts
1. Accidentals
2. F-Clef
3. Intervals
4th
4. Scales (Pentatonic,
III. C major, G major) recognizes the musical accurate performance
5. Melodic Contours symbols and demonstrates of songs following the
understanding of concepts musical symbols
pertaining to melody pertaining to melody
indicated in the piece
5th
octave
6. identifies successive sounding MU5ME-IId-6

of two pitches
7. identifies the beginning
melodic contour of a MU5ME-IId-7
musical example

to schools.
CURRICULUM
8. determines the range of a
musical example
8.1 wide
8.2 narrow
MU5ME-IIe-8

to schools.
CURRICULUM

to schools.
CURRICULUM
2. creates a 4- line unitary song

MU5FO-IIIb-2
3. creates a 4 –line strophic MU5FO-IIIcd-3

song with 2 sections and 2
verses
V. TIMBRE demonstrates understanding participates in a group 4. describes the characteristics *Musika at Sining 5.
of variations of sound performance to of each type of voice Sunico, Raul M. et al,
Vocal and Instrumental density in music (lightness demonstrate different 2000. pp.44-46
Sounds and heaviness) as applied to vocal and instrumental
vocal and instrumental music sounds MU5TB-IIIe-1 *Manwal ng Guro
Umawit at Gumuhit
5. Valdecantos,
Emelita C. 1999. pp.44-
45
5. identifies the following vocal MISOSA4module18
timbres:
5.1 soprano *Musika at Sining
5.2 alto 5. Sunico, Raul M.
5.3 tenor et al, 2000. pp.4446
5.4 bass
*Manwal ng Guro
MU5TB-IIIe-2 Umawit at
Gumuhit 5.
Valdecantos,
Emelita C. 1999.
pp.44-45

to schools.
CURRICULUM
6. identifies aurally and *Musika at Sining 5.
visually different Sunico, Raul M. et al,
instruments in: 2000. pp.47-50
6.1 rondalla
6.2 drum and lyre band MU5TB-IIIf-3
*Manwal ng Guro
6.3 bamboo group/ensemble Umawit at Gumuhit
(Pangkat Kawayan) 5. Valdecantos,
6.4 other local indigenous Emelita C. 1999.

ensembles pp.46-47
7. participates actively in
musical ensemble
MU5TB-IIIg-4
7.1 choral
V. TIMBRE demonstrates understanding participates in a group 7.2 instrumental
of variations of sound performance to 8. creates a variety of sounds
Vocal and Instrumental density in music (lightness demonstrate different emanating from the MU5TB-IIIgh-5
Sounds and heaviness) as applied to vocal and instrumental environment using
vocal and instrumental music sounds available sound sources
FOURTH QUARTER
VI. DYNAMICS demonstrates understanding applies dynamics to 1. identifies the different *Manwal ng Guro
of concepts pertaining to musical selections dynamic levels used in a MU5DY-IVa-b- Umawit at Gumuhit
Variations of Volume in volume in music song heard 1 5. Valdecantos,
Musical Sound Emelita C. 1999.
pp.49-50

to schools.
CURRICULUM
2. uses appropriate musical MISOSA4-module20
terminology to indicate
variations in dynamics, *Musika at Sining
specifically: 5. Sunico, Raul M.
2.1 piano (p) et al, 2000. pp.5455
2.2 mezzo piano (mp)
2.3 forte(f) MU5DY-IVa-b-
2
2.4 mezzo forte (mf)
2.5 crescendo
2.6 decrescendo
VII. TEMPO recognizes the musical applies appropriately, 3. identifies the various MISOSA4-module21
symbols and demonstrates various tempo to tempo used in a song
Variations of Speed in understanding of concepts vocal and instrumental heard MU5TP-IVc-1 *Musika at Sining 5.
Musical Sound pertaining to speed in music performances applies Sunico, Raul M. et al,
recognizes the musical appropriately, 2000. pp.62
VII. TEMPO symbols and demonstrates various tempo to vocal

understanding of concepts and instrumental *Manwal ng Guro
pertaining to speed in music performances Umawit at Gumuhit
Variations of Speed in 5. Valdecantos,
Musical Sound Emelita C. 1999.
pp.54-56

to schools.
CURRICULUM
4. uses appropriate musical *Musika at Sining 5.
terminology to indicate Sunico, Raul M. et al,
variations in tempo: 2000. pp.62
4.1 largo
4.2 presto MU5TP-IVc-d-
4.3 allegro 2 *Manwal ng Guro
4.4 moderato Umawit at
4.5 andante Gumuhit 5.
4.6 vivace Valdecantos,
4.7 ritardando Emelita C. 1999.
4.8 accelerando pp.54-58
VIII. TEXTURE demonstrates understanding recognizes examples of 5. identifies aurally the texture *Musika at Sining 5.
of concepts pertaining to horizontal 3-part vocal of a musical piece Sunico, Raul M. et al,
Densities of Musical Sound texture in music or instrumental texture, 2000. pp.65
aurally and visually
MU5TX-IVe-1 *Manwal ng Guro
Umawit at
Gumuhit 5.
Valdecantos,
Emelita C. 1999.
pp.60-61
6. performs 3-part rounds and *Musika at Sining 5.
partner songs Sunico, Raul M. et al,
2000. pp.68
MU5TX-IVe-2 *Manwal ng Guro

Umawit at Gumuhit
5. Valdecantos,
Emelita C. 1999.
pp.59

to schools.
CURRICULUM

to schools.
CURRICULUM
GRADE 6
ELEMENTS OF
MUSIC
FIRST QUARTER
I. RHYTHM demonstrates understanding responds to beats inf 1. identifies the notes / rests used MISOSA4-
of the concept of rhythm by music heard with 6 in a particular song Module6
applying notes and rests, appropriate
Musical Symbols and 8 234
rhythmic patterns, and time conducting patterns o
Concepts: 4, 4, 4 MISOSA5module1
and 2 3 4
1. Notes and Rests signatures
4, 4, 4
2. Meters *Musika at Sining
3. Rhythmic Patterns 6. Sunico, Raul
4. Time Signatures M. et al, 2000.
MU6RH-Ia-1 pp.8-10
5. Conducting
*Umawit at
Gumuhit 6.
Valdecantos,
Emelita C. 1999.
pp.5-16, pp.25-
26

to schools.
CURRICULUM
2. differentiates among MISOSA5module6
6
and 8 time signatures *Musika at Sining
6. Sunico, Raul
M. et al, 2000.
pp.8-10
MU6RH-Ib-e-2 *Umawit at
Gumuhit 6.
Valdecantos,
Emelita C. 1999.
pp.5-20

to schools.
CURRICULUM
I. RHYTHM demonstrates understanding responds to beats in 3. demonstrates the conducting MISOSA5module6
of the concept of rhythm by music heard with gestures of 2 3 4
Musical Symbols and applying notes and rests, appropriate 4, 4, 4 MISOSA6module7
Concepts: rhythmic patterns, and time conducting patterns of 6 and 8 time Ritmo2-
1. Notes and Rests signatures and 2 3 4 6 signatures 2, module 8
2. Meters 4, 4, 4 8 Ritmo 2-4, 3-4,
3. Rhythmic Patterns 4-4
4. Time Signatures
5. Conducting *Musika at Sining
MU6RH-Ib-e-3 6. Sunico, Raul
M. et al, 2000.
pp.8-10
*Umawit at
Gumuhit 6.
Valdecantos,
Emelita C. 1999.
pp.5-20
4. identifies through conducting
the relationship of the first
MU6RH-If-4
and lastmeasure in an
incomplete measure

to schools.
CURRICULUM
5. creates rhythmic patterns in MISOSA5module3
2 3 4 and 6 F
Mayor, module4
4, 4, 4 8 G Mayor,
module5 tonong
time signatures
La
MU6RH-Ig-h-5
*Umawit at
Gumuhit 6.
Valdecantos,
Emelita C. 1999.
pp.5-20
SECOND QUARTER

to schools.
CURRICULUM
II. MELODY demonstrates the concept applies learned 1. demonstrates the ability to MISOSA4modules13,14
of melody by using concepts of melody sing, read, and write simple MISOSA6module5
1. Intervals intervals in major scales and other elements to musical notations in the: Tonong La, module6
2. Major Scales and in the minor scales composition and Melodiya
3. Minor Scales performance 1.1 Key of C Major
1.2 Key of G Major

MU6ME-IIa-1
1.3 Key of F Major
2. analyzes the melodic patterns MISOSA4module14

of songs in C Major, G major,
and F Major keys MU6ME-IIa-2 MISOSA6module1,2,3,4
3. sings and plays solo or with MISOSA6- module3 F

group, melodies/songs in C Mayor, module4 G
Major, G Major, and F Major Mayor, module6
MU6ME-IIa-3
Melodiya

to schools.
CURRICULUM
II. MELODY demonstrates the concept of applies learned 4. creates simple melodies in: MISOSA5module12
melody by using intervals in concepts of melody 4.1 C Major,
1. Intervals major scales and in the and other elements to 4.2 G Major, and MISOSA6-
2. Major Scales minor scales composition and 4.3 F Major scales module3 F
3. Minor Scales performance MU6ME-IIa-4 Mayor, module4
G Mayor,
module6
Melodiya
5. sings self-composed MISOSA6-

melodies in C Major, G module3 F
major, and F Major keys Mayor, module4
MU6ME-IIa-5
G Mayor,
module6
Melodiya
THIRD QUARTER

to schools.
CURRICULUM
III. FORM demonstrates understanding performs accurately 1. identifies simple musical MISOSA4module17
of the concept of musical the design or structure forms
1. Structure of Musical forms and musical symbols of a given musical 1.1 binary (AB) -has 2 *Manwal ng Guro
Forms (repeat marks) indicated piece contrasting sections (AB) Umawit at
1.1 binary (AB) 1.2 ternary (ABA)-has 3 Gumuhit 5.
1.2 ternary (ABA) sections, the third section Valdecantos,
similar to the first; (ABC) Emelita C. 1999.
1.3 rondo (ABACA)
– has 3 sections
2. Repeat Marks pp.34-38
1.3 rondo (ABACA) -has
2.1 Da Capo (D.C.)
contrasting sections in
2.2 Dal Segno (D.S.) *Manwal ng Guro
between repetitions of the MU6FO-IIIab-1 Umawit at
2.3 Al Fine (up to the end)
2.4 D.C. al Fine (repeat A section (ABACA) Gumuhit 6.
from the beginning Valdecantos,
until the word Fine) Emelita C. 1999.
2.5║: :║ pp.37-40
2.6 ┌───┐┌───┐
2.7 1 2 Edukasyong
(ending 1, ending 2) Pangkatawan,
Kalusugan at
III. FORM demonstrates understanding performs accurately Musika I. Abejo,

of the concept of musical the design or structure Mary Placid.
1. Structure of Musical forms and musical symbols of a given musical 1994. pp.304-306
Forms (repeat marks) indicated piece

to schools.
CURRICULUM
1.1 binary (AB) 2. analyzes the musical forms MISOSA4module23
1.2 ternary (ABA) of the following songs:
1.3 rondo (ABACA) 2.1 Leron,Leron,Sinta;
2. Repeat Marks Sitsiritsit
2.1 Da Capo (D.C.) 2.2 Silent Night
2.2 Dal Segno (D.S.) 2.3 Happy Birthday
2.3 Al Fine (up to the end) 2.4 Joy to the World
2.4 D.C. al Fine (repeat 2.5Bahay Kubo MU6FO-IIIab-2
from the beginning 2.6Ili-iliTulogAnay
until the word Fine) 2.7ParuparongBukid
2.5║: :║
2.8Ang Bayan Ko
2.6 ┌───┐┌───┐
2.9Pamulinawen
2.7 1 2
2.10Tinikling
(ending 1, ending 2)
2.11LupangHinirang
3. uses the different repeat MISOSA4module17
marks that are related to
form: *Manwal ng Guro
3.1 Da Capo (D.C.) Umawit at
3.2 Dal Segno (D.S.) Gumuhit 5.
3.3 Al Fine (up to the end) Valdecantos,
3.4 D.C. al Fine (repeat from Emelita C. 1999.
the beginning until the pp.39
word Fine) MU6FO-IIIc-3
3.5║: :║ *Manwal ng Guro
3.6 ┌───┐┌───┐ Umawit at
1 2 Gumuhit 6.
(ending 1, ending 2) Valdecantos,
Emelita C. 1999.
pp.38-40

to schools.
CURRICULUM
IV. TIMBRE demonstrates understanding aurally determines the 4. identifies visually and aurally *Manwal ng Guro
of the concept of timbre sound of a single the instrumental sections of Umawit at Gumuhit
Introduction of Musical through recognizing musical instrument in any the Western orchestra 6.
Instruments instruments aurally and section of the Valdecantos,
visually orchestra MU6TB-IIId-1
Emelita C. 1999.
pp.47-48
5. distinguishes aurally the *Manwal ng Guro

sound of each section of the Umawit at Gumuhit
Western orchestra 6.
MU6TB-IIId-
Valdecantos,
e-2
Emelita C. 1999.
pp.47-48
6. identifies the characteristics of *Manwal ng Guro

each instrument in each Umawit at Gumuhit
section of the orchestra 6.
MU6TB-IIId-3 Valdecantos,
Emelita C. 1999.
pp.47-48
7. describes the distinct sound *Manwal ng Guro

quality of the different Umawit at Gumuhit
instruments of the MU6TB-IIId- 6.
orchestra e-4 Valdecantos,
Emelita C. 1999.
pp.47-48

to schools.
CURRICULUM
V. DYNAMICS demonstrates understanding applies the 8. distinguishes varied dynamic MISOSA5module16
of the concept of appropriate dynamic levels in a music heard
Variations in Dynamics dynamicsthrough a wide levels in vocal and 8.1 piano (p) *Musika at Sining 6.
variety of dynamic levels instrumental music 8.2 mezzo piano (mp) MU6DY-IIIf-g1 Sunico, Raul M. et
8.3 pianissimo (pp) al, 2000. pp.51-57
8.4 forte (f)
8.5 mezzo forte (mf)
V. DYNAMICS demonstrates understanding applies the appropriate 8.6 fortissimo

of the concept of dynamics dynamic levels in vocal 8.7(ff) *Manwal ng Guro
Variations in Dynamics through a wide variety of and instrumental 8.crescendo Umawit at
dynamic levels music 8 decrescendo Gumuhit 6.
Valdecantos,
Emelita C. 1999.
pp.48-52
9. uses varied dynamic levels in *Manwal ng Guro

a song Umawit at
Gumuhit 6.
MU6DY-IIIh-2 Valdecantos,
Emelita C. 1999.
pp.48-52
FOURTH QUARTER

to schools.
CURRICULUM
VI. TEMPO demonstrates understanding performs a given song, 1. identifies the different tempo *Musika at Sining
of the various tempo using tempo marks in a given song or music: 6. Sunico, Raul
Variations of Tempo appropriately -allegro M. et al, 2000.
-andante pp.59-61
-ritardando
-accelerando MU6TX-IVa-b- *Manwal ng Guro
-largo 1 Umawit at
-presto Gumuhit 6.
-vivace Valdecantos,
Emelita C. 1999.
pp.53-54
2. distinguishes between *Musika at Sining

ritardando and accelerando 6. Sunico, Raul
as used in a song M. et al, 2000.
MU6TX-IVa-b- pp.61
2
*Manwal ng Guro
Umawit at
Gumuhit 6.
Valdecantos,
Emelita C. 1999.
pp.53-57

to schools.
CURRICULUM
3. demonstrates the different *Manwal ng Guro
kinds of tempo by following Umawit at
tempo marks in a familiar Gumuhit 6.
song MU6TX-IVa-b-
Valdecantos,
Ex: “Pandangguhan” 3
Emelita C. 1999.
pp.54-55
VII. TEXTURE demonstrates the concept of performs accurately a 4. identifies aurally the texture EASE
texture as: given song with of musical pieces MUSICmodule6
Variations in Texture 1. monophonic (one voice) monophonic, 4.1 monophonic
1. Monophony 2. homophonic (voice and homophonic, and 4.2 homophonic Edukasyong
2. Homophony accompaniment) polyphonic textures 4.3 polyphonic Pangkatawan,
3. Polyphony
3. polyphonic (many Kalusugan at
voices) Musika I. Abejo,
Mary Placid.1994.
pp.224-229
*Musika at Sining
6. Sunico, Raul
MU6TX-IVc-d- M. et al, 2000.
1 pp.70-72
*Manwal ng Guro
Umawit at
Gumuhit 6.
Valdecantos,
Emelita C. 1999.
pp.61

to schools.

to schools.

to schools.
D minor
10. distinguishes the sound of a *Manwal ng Guro

major chord from a minor Umawit at
chord Gumuhit 6.
MU6HA-IVe-f-
Valdecantos,
3
Emelita C. 1999.
pp.64-65
11. uses the major triad as *Manwal ng Guro

accompaniment to simple Umawit at
songs MU6HA-IVg-h- Gumuhit 6.
4 Valdecantos,
Emelita C. 1999.
pp.67

to schools.

to schools.
GRADE 7
MUSIC OF THE PHILIPPINES
FIRST QUARTER
Music of Luzon ( Lowlands) The Learner… The Learner... The learner . . . EASE-module2
1. identifies the musical
Geographical and Cultural demonstrates performs music of the characteristics of OHSP Music
Background understanding of the lowlands with appropriate representative music selections Module Q1
musical characteristics pitch, rhythm, expression from the lowlands of Luzon
1. Vocal Music of representative and style after listening; *Edukasyong
music from the MU7LU-Ia-1
a) Performance practice; Pangkatawan,
b) Folk songs; lowlands of Luzon Kalusugan at
c) Sacred (Liturgical and Musika III.
Devotional) music: Mass, Adriano, Celia T.
Pastores, Senakulo, et al, 1999.
Pasyon, Salubong, Flores pp.248-250
de Mayo, Santacruzan; 2. analyzes the musical elements of EASE-module2
d) Secular music: Harana, some Lowland vocal and
Balitaw, Kumintang, Polka; instrumental music selections; *Edukasyong
e) Art music: Kundiman. Pangkatawan,
MU7LU-Ia-2 Kalusugan at
Musika III.
2. Instrumental Music Adriano, Celia T.
a) Rondalla; et al, 1999.
b) Brass Band; pp.248-250

schools.
c) Musikong Bumbongl 3. explains the distinguishing EASE-module1
d) Bamboo organ; characteristics of representative
e) Angklung ensemble; Philippine music selections from *Edukasyong
Luzon in relation to its culture Pangkatawan,
f) Himig Pangkat Kawayan.
and geography; MU7LU-Ib-3 Kalusugan at
Musika III.
Adriano, Celia T.
et al, 1999.
pp.236-248
Music of Luzon ( Lowlands) demonstrates performs music of the 4. explores ways of producing EASE-module1
understanding of the lowlands with appropriate sounds on a variety of sources
Geographical and Cultural musical characteristics of pitch, rhythm, expression that is similar to the *Edukasyong
Background representative music from and style instruments being studied; Pangkatawan,
the lowlands of Luzon MU7LU-Ib-f-4 Kalusugan at
1. Vocal Music Musika III.
a) Performance practice; Adriano, Celia T.
b)Folk songs; et al, 1999.
c)Sacred (Liturgical and pp.251
Devotional) music: Mass, 5. improvises simple
Pastores, Senakulo, rhythmic/melodic
Pasyon, Salubong, Flores accompaniments to selected MU7LU-Ic-f-5
de Mayo, Santacruzan; music from the Lowlands of
d)Secular music: Harana, Luzon;
Balitaw, Kumintang, Polka; 6. performs instruments/improvised
e)Art music: Kundiman. instruments from Luzon MU7LU-Ig-h-6
lowlands;

schools.
2. Instrumental Music 7. sings folksongs from the lowlands *Edukasyong
a) Rondalla; of Luzon; Pangkatawan,
b)Brass Band; Kalusugan at
c) Musikong Bumbongl MU7LU-Ia-h-7 Musika III.
Adriano, Celia T.
d)Bamboo organ;
et al, 1999.
e) Angklung ensemble;
pp.236-248
Himig Pangkat Kawayan.
8. creates appropriate movements
or gestures to accompany the
MU7LU-Ia-h-8
music selections of the
Lowlands of Luzon;
9. provides harmonic
accompaniments to selected
MU7LU-Id-9
music of the Lowlands of
Luzon;
10. evaluates music and music
performances applying
MU7LU-Ic-h10
knowledge of musical elements
and styles.
SECOND QUARTER
Music of Cordillera, Mindoro, The Learner… The Learner... The Learner... *Edukasyong
Palawan, and the 1. identifies the musical Pangkatawan,
A. Visayas demonstrates performs selected vocal Kalusugan at
characteristics of representative
understanding of the and instrumental music selections of Cordillera, MU7LV-IIa-f-1 Musika III.
Cordillera musical characteristics of of Cordillera, Mindoro, Adriano, Celia T.
historic Mindoro, Palawan and of the
representative music from Palawan and the Visayas et al, 1999.
Visayas after listening;
the highlands of Luzon, in appropriate style pp.248-256,
1. Mindoro, Palawan, and the pp.265

schools.
Geographical,
a) cultural, and Visayas 2. analyzes the musical elements of *Edukasyong
b) al background some vocal and instrumental Pangkatawan,
selections from Cordillera, Kalusugan at
Vocal Music; Mindoro, Palawan and of the MU7LV-IIa-f-2 Musika III.
Performance practice; Visayas after listening; Adriano, Celia T.
2. Representative et al, 1999.
a) songs/genre (salidummay, pp.265
oggayam, ba-diw).
b) 3. explains the distinguishing *Edukasyong
characteristics of representative Pangkatawan,
Instrumental Music
B. Gangsa ensemble; Bamboo music from Cordillera, Mindoro, Kalusugan at
Palawan and of the Visayasin MU7LV-IIb-f-3 Musika III.
solo/ensemble. Adriano, Celia T.
1. relation to its culture and
a) Mindoro and Palawan geography; et al, 1999.
b) pp.248-259
Vocal Music; 4. explores ways of producing *Edukasyong
Performance practice; sounds on a variety of sources Pangkatawan,
Representative similar to instruments being Kalusugan at
songs/genre studied; MU7LV-IIb-g-4 Musika III.
2. (Vocal chants -Ambahan, Adriano, Celia T.
a) Igway). et al, 1999.
pp.257-258
Instrumental Music 5. improvises simple *Edukasyong
b) Instrumental ensembles: rhythmic/melodic Pangkatawan,
Bamboo / Gong accompaniments to selected Kalusugan at
C. ensemble ; music from the Cordillera, MU7LV-IIb-g-5 Musika III.
Solo instruments. Mindoro, Palawan and of the Adriano, Celia T.
Visayas; et al, 1999.
Visayas
1. Vocal Music demonstrates pp.252-265

understanding of the

schools.
a) Performance musical characteristics of performs selected vocal 6. performs instruments/improvised *Edukasyong
practice; representative music from and instrumental music of instruments from Cordillera, Pangkatawan,
b) Representative the highlands of Luzon, Cordillera, Mindoro, Mindoro, Palawan and of the Kalusugan at
songs/genre: Mindoro, Palawan, and the Palawan and the Visayas in Visayas, alone and/or with MU7LV-IIb-g-6 Musika III.
BalitaoVisayan, Visayas appropriate style others’ Adriano, Celia T.
Pastores- et al, 1999.
Christmas, Kanta- pp.258
Folksong, Ballad, 7. provides accompaniment to
Lullaby, Courtship,
selected music of the Cordillera,
and Composo - MU7LV-IIb-g-7
Mindoro, Palawan and of the
Ilonggo narrative
Visayas;
song.
8. sing songs from the Cordillera, *Edukasyong
2. Instrumental Music Mindoro, Palawan and of the Pangkatawan,
a) Instrumental Visayas; Kalusugan at
ensembles: MU7LV-IIa-f-8 Musika III.
Rondalla, Adriano, Celia T.
Tultogan, Harp, Band, et al, 1999.
“Bird Dance” Binanog pp.252-265
(Panay, Bukidnon) 9. creates appropriate movements
to accompany music from the
MU7LV-IIc-h-9
Cordillera, Mindoro, Palawan
and of the Visayas;
10. evaluates music and music
MU7LV-IIc-h-
performances applying
10
knowledge of musical elements
and style.
THIRD QUARTER
Music of Mindanao The Learner… The Learner... The Learner... *Edukasyong
1. identifies the musical Pangkatawan,
A. Islamic Music demonstrates performs music of characteristics of Kalusugan at
MU7MN-IIIa-g- Musika III.
1. Vocal music: understanding of the Mindanao with representative music
1 Adriano, Celia T.
musical characteristics of appropriate selections from Mindanao
a) chants; et al, 1999.
expression and style after listening;

schools.
b) lullaby. representative music from pp.252-253

Mindanao
2. Instrumental Ensemble: 2. analyzes the musical *Edukasyong
a) Kulintang ensemble ; elements of some Mindanao Pangkatawan,
b) bamboo ensemble ; vocal and instrumental Kalusugan at
MU7MN-IIIa-g-
c) solo instruments. music; Musika III.
2
Adriano, Celia T.
et al, 1999.
3. Non-Islamic
pp.252-253
a) Christian;
3. explains the distinguishing *Musika at Sining
b) Lumad: characteristics of I. Padro, Alicia N.
(Folk songs of representative music MU7MN-IIIa-g- et al, 1998. pp.2-
Zamboanga, Butuan and selections of Mindanao in 3 3
Tausug). relation to its culture and
geography;
4. explores ways of producing *Edukasyong
sounds on a variety of Pangkatawan,
sources that is similar to Kalusugan at
MU7MN-IIIb-h-
the instruments being Musika III.
4
studied; Adriano, Celia T.
et al, 1999.
pp.253-254
5. improvises simple
rhythmic/melodic
accompaniments to MU7LV-IIIc-h5
selected music from
Mindanao;

schools.
6. perform
instruments/improvised
instruments from MU7LV-IIIc-h6
Mindanao, alone and/or
with others;
7. sing songs from Mindanao; MU7LV-IIId-h-
7
8. creates appropriate
movements or gestures MU7LV-IIIc-8
to accompany the music
demonstrates performs music of selections of Mindanao;

understanding of the Mindanao with appropriate
musical characteristics of expression and style 9. provides accompaniment to
representative music from
selected music of MU7LV-IIIc-h9
Mindanao
Mindanao;
10. evaluates music selections
and music performances
MU7LV-IIIb-
applying knowledge of
h10
musical elements and
style.
FOURTH QUARTER
Philippine Festivals The Learner… The Learner... The Learner...
1. identifies musical characteristics
a) Aklan – Ati-atihan 1. demonstrates 1. performs of selected Philippine festivals MU7FT-IVa-g-1
b) Davao - Kadayawan understanding and excerpts/selections and theatrical forms through
c) Marinduque – Moriones application of video or live performances;

schools.
d) Cebu – Sinulog musical skills related from Philippine musical 2. narrate the origins and cultural *Edukasyong
e) Bicol – Ibalon to selected theater background of selected Pangkatawan,
f) Batangas – Sublian Philippine Festivals Philippine festival/s; Kalusugan at
2. performs songs and MU7FT-IVa-d-2 Musika III.
2. demonstrates dances from selected Adriano, Celia T.
understanding and Philippine festivals et al, 1999.
application of pp.260
Theatrical Forms
musical
3. creates movements to music of *Edukasyong
skills related to theater
a) Komedya/Moromoro/Arakyo a particular Philippine festival; Pangkatawan,
b) Sarsuela Kalusugan at
c) Bodabil MU7FT-IVa-d-3 Musika III.
Adriano, Celia T.
et al, 1999.
pp.260
4. describes how the music
contributes to the performance MU7FT-IVe-h-4
of the musical production;
5. explains the distinguishing EASE-module1
characteristics of representative
MU7FT-IVa-h-5
Philippine festivals and
theatrical
forms;
6. describes how a specific idea or EASE-module1

story is communicated through
MU7FT-IVe-h-6
music in a particular Philippine
musical theater;
7. sing selection/s from chosen
MU7FT-IVe-h-7
Philippine musical theater;

schools.
GRADE 8
MUSIC OF ASIA
FIRST QUARTER
MUSIC OF SOUTHEAST ASIA The Learner… The Learner... The Learner... OHSP Q2
1. explains how the music of
Geographical, historical and cultural demonstrates performs Southeast a Southeast Asian country *Edukasyong
background understanding of common Asian songs with relates to its geography Pangkatawan,
musical characteristics of appropriate pitch, and culture; Kalusugan at
1. Indonesia-Gamelan the region as well as rhythm, expression and MU8SE-Ia-h-1 Musika III.
a. Javanese; unique characteristics of a style. Adriano, Celia T.
b. Balinese. particular Southeast Asian Et al, 1999.
country. pp.299-308
2. Thailand-Piphat 2. listens perceptively to music of OHSP Q2
MU8SE-Ia-h-2
Southeast Asia;
3. Cambodia-Pinpeat 3. sings songs of Southeast OHSP Q2
MU8SE-Ic-h-3
Asia;
4. Myanmar-Saung Gauk 4. analyzes musical elements OHSP Q2
of selected songs and
instrumental pieces heard *Edukasyong
and performed; Pangkatawan,
Kalusugan at
MU8SE-Ib-h-4
Musika III.
Adriano, Celia T.
Et al, 1999.
pp.299-305,
pp.308-312

schools.
5. explores ways of OHSP Q2
producing sounds on a
variety of sources that *Edukasyong
would simulate Pangkatawan,
instruments being Kalusugan at
MU8SE-Ic-h-5 Musika III.
studied;
Adriano, Celia T.
Et al, 1999.
pp.305-308,
MUSIC OF SOUTHEAST ASIA demonstrates performs Southeast pp.312-313

understanding of common Asian songs with
Geographical, historical and cultural musical characteristics of appropriate pitch,
6. improvises simple OHSP Q2
background the region as well as rhythm, expression and
unique characteristics of a accompaniment to
style. MU8SE-Ic-h-6
particular Southeast Asian selected Southeast Asian
1. Indonesia-Gamelan
country. music;
a. Javanese;
7. performs on available OHSP Q2
b. Balinese.
instruments from MU8SE-Ic-h-7
Southeast Asia;
2. Thailand-Piphat
8. evaluates music and OHSP Q2
3. Cambodia-Pinpea music performances
4. Myanmar-Saung Gauk style.
MU8SE-Ic-h-8
SECOND QUARTER

schools.
Music of East Asia The Learner… The Learner... The Learner... OHSP Q2
1. explains how East Asian
1. China music relates to its *Edukasyong
2. Japan demonstrates performs East Asian geography and culture; Pangkatawan,
3. Korea understanding of common music with appropriate Kalusugan at
MU8SE-IIa-g-1
and distinct musical pitch, rhythm, Musika III.
a) Geographical, historical and characteristics of East expression and style Adriano, Celia T.
cultural background Asian countries Et al, 1999.
b) Traditional instruments pp.267, 274, 282
(idiophones, aerophones, OHSP Q2
membranophones, and 2. listens perceptively to music of
chordophones) East Asia; *Edukasyong
c) Instrumental pieces (solo and Pangkatawan,
ensemble) Kalusugan at
d) Folksongs and ritual music MU8SE-IIa-h-2
Musika III.
e) K-Pop and J-Pop Adriano, Celia T.
Et al, 1999.
pp.289
Music of East Asia demonstrates performs East Asian OHSP Q2

understanding of common music with appropriate 3. sings songs of East Asia;
1. China and distinct musical pitch, rhythm, *Edukasyong
2. Japan characteristics of East expression and style Pangkatawan,
Asian countries Kalusugan at
3. Korea MU8SE-IIc-h-3
Musika III.
a) Geographical, historical and Adriano, Celia T.
cultural background Et al, 1999.
pp.268-270, 278-
279, 284-286,

schools.
b) Traditional instruments 4. analyzes musical elements OHSP Q2
(idiophones, aerophones, of selected songs and
membranophones, and instrumental pieces heard *Edukasyong
chordophones) and performed; Pangkatawan,
c) Instrumental pieces (solo Kalusugan at
and ensemble) MU8SE-IIc-h-4
Musika III.
d) Folksongs and ritual music Adriano, Celia T.
e) K-Pop and J-Pop Et al, 1999.
pp.267-270, 274-
280, 283-286
5. explores ways of OHSP Q2
producing sounds on a
variety of sources that *Edukasyong
would simulate Pangkatawan,
instruments being studied; Kalusugan at
MU8SE-IIb-h-5
Musika III.
Adriano, Celia T.
Et al, 1999.
pp.271-272, 280-
282, 286-289
6. improvises simple OHSP Q2
accompaniment to MU8SE-IIc-h-6
selected East Asian music;
7. performs on available OHSP Q2
instruments from East
Asia; MU8SE-IIb-h-7

schools.
Music of East Asia demonstrates performs East Asian 8. evaluates music and OHSP Q2
understanding of music with music performances
1. China common and distinct appropriate pitch, applying knowledge of *Edukasyong
2. Japan musical characteristics rhythm, expression musical elements and Pangkatawan,
of East Asian countries and style style. Kalusugan at
3. Korea
Musika III.
a) Geographical, historical and Adriano, Celia T.
cultural background Et al, 1999.
b) Traditional instruments MU8SE-IIb-h-8 pp.267-287
(idiophones, aerophones,
membranophones, and
chordophones)
c) Instrumental pieces (solo and
ensemble)
d) Folksongs and ritual music
e) K-Pop and J-Pop
THIRD QUARTER
Music of South Asia and Middle The Learner… The Learner... The Learner... *Edukasyong
East 1. explains how music of a Pangkatawan,
demonstrates an performsSouth Asia South Asian and the Kalusugan at
4. India understanding of and the Middle East Middle East country relate MU8WS-IIIa- Musika III.
5. Israel common and distinct music with appropriate to its geography and g-1 Adriano, Celia T.
musical characteristics pitch, rhythm, culture; Et al, 1999.
Geographical, historical and of South Asia and the expression and style. pp.291
a)
cultural background; Middle East. 2. listens perceptively to *Edukasyong
Traditional instruments
b) (idiophones, aerophones, music of South Asia Pangkatawan,
and the Middle East; Kalusugan at
membranophones, and MU8WS-IIIa-
chordophones) ; Musika III.
h-2
Instrumental pieces (solo and Adriano, Celia T.
c) ensemble); Et al, 1999.
Folksongs and ritual music pp.297
d) 3. sings songs of South Asia MU8WS-IIIc-
and the Middle East; g-3

schools.
4. analyzes musical MU8WS-IIIc- *Edukasyong
elements of selected h-4 Pangkatawan,
songs and
Music of South Asia and Middle demonstrates an performs South Asia instrumental pieces heard Kalusugan at
East understanding of and the Middle East and performed; Musika III.
common and distinct music with appropriate Adriano, Celia T.
4. India musical characteristics pitch, rhythm, Et al, 1999.
5. Israel of South Asia and the expression and style. pp.291-295
Middle East.
5. explores ways of *Edukasyong
a) Geographical, historical and producing sounds on a Pangkatawan,
cultural background; variety of sources that Kalusugan at
b) Traditional instruments MU8WS-IIIc-
would simulate Musika III.
(idiophones, aerophones, instruments being h-5
Adriano, Celia T.
membranophones, and studied; Et al, 1999.
chordophones) ; pp.296-297
c) Instrumental pieces (solo and
ensemble); 6. improvises simple
d) Folksongs and ritual music accompaniment to MU8WS-IIIb-
selected South Asia and h-6
the Middle East music;
7. performs on available
instruments from South MU8WS-IIIb-
Asia and Middle East; h-7
8. evaluates music and

music performances
MU8WS-IIIc-
h-8
style.
FOURTH QUARTER

schools.
Traditional Asian Theater Music The Learner… The Learner... The Learner...
1. Wayang Kulit; 1. identifies musical
2. Kabuki; demonstrates performs excerpts from characteristics of
3. Peking Opera. understanding and traditional Asian selected Asian musical MU8TH-IVa-g-
application of musical skills theater with theater through video 1
related to selected appropriate pitch,
films or live
traditional Asian theater rhythm, expression,
performances;
and
style 2. sing selection/s from
MU8TH-IVa-g-
chosen Asian
2
musical theater;
Traditional Asian Theater Music demonstrates performs excerpts from 3. describe how the musical
1. Wayang Kulit; understanding and traditional Asian elements contribute to MU8TH-IVb-h-
2. Kabuki; application of musical skills theater with the performance of the 3
3. Peking Opera. related to selected appropriate pitch, musical production;
traditional Asian theater rhythm, expression,
4. identifies the instruments
and
style that accompany Kabuki, MU8TH-IVa-g-
Wayang Kulit, Peking 4
Opera;
5. explains the
distinguishing
MU8TH-IVa-g-
characteristics of
5
representative Asian
musical theater;
6. describe how a specific
idea or story is
MU8TH-IVa-g-
communicated through
6
music in a particular
Asian musical theater;

schools.
7. creates/improvises
appropriate sound,
music, gesture,
movements, props and
MU8TH-IVb-h-
costume for performance
7
of a chosen Asian
traditional musical
and theatrical form;

music performances
MU8TH-IVc-h-
8
style.
GRADE 9
HISTORY OF WESTERN MUSIC
LEARNING
CONTENT CONTENT STANDARDS PERFORMANCE STANDARDS LEARNING COMPETENCY CODE MATERIALS
FIRST QUARTER
The Learner… The Learner... The Learner...

1. MUSIC OF THE
MEDIEVAL PERIOD demonstrates performs selected songs from 1. listens perceptively to
MU9MRB-Ia-h-
(700-1400) understanding of Medieval, renaissance and selected vocal and
1
characteristic features of baroque periods instrumental music of
the Medieval, Renaissance Medieval, Renaissance and
and Baroque period music Baroque music;

schools.
a) Historical and a) Chants; 2. explains the performance *Edukasyong
cultural background; b) Madrigals; practice (setting, composition, Pangkatawan,
b) Gregorian chants; c) excerpts from oratorio; role of composers/performers, Kalusugan at
and audience) during MU9MRB -Ia-h- Musika IV.
c) Troubadour music; d) chorales;
Medieval, Renaissance and 2 Sacdalan,
d) Composer - Adam de e) troubadour. Guinevere I. Et
la Halle. Baroque periods;
al, 1999.
pp.274286
2. RENAISSANCE PERIOD
3. relates Medieval, Renaissance *Edukasyong
(1400-1600)
and Baroque music to its Pangkatawan,
a) Historical and Kalusugan at
historical and cultural
cultural background; MU9MRB -Ic-f- Musika IV.
background through
b) Mass; dramatization; 3 Sacdalan,
c) Madrigal; Guinevere I. Et
d) Composers - al, 1999.
Giovanni da pp.274283
Palestrina and 4. sings Medieval chant, *Edukasyong
Thomas Morley. troubadour song, madrigal, Pangkatawan,
chorale and selections from Kalusugan at
3. MUSIC OF THE BAROQUE oratorio with correct pitch, Musika IV.
PERIOD (1685-1750) rhythm, expression and style; MU9MRB -Ib-h- Sacdalan,
4 Guinevere I. Et
a) Historical and al, 1999. pp.274-
cultural background; 277, 284
b) Concerto Grosso,
Fugue
LEARNING

schools.
c) Oratorio and chorale demonstrates performs selected songs from 5. describes musical elements of *Edukasyong
d) Composers: Johann understanding of Medieval, renaissance and given Medieval, Pangkatawan,
Sebastian Bach and characteristic features of baroque periods Renaissance and Baroque Kalusugan at
George Friedrich the Medieval, Renaissance music; MU9MRB -Ib-f- Musika IV.
Handel and Baroque period music a) Chants; 5 Sacdalan,
b) Madrigals; Guinevere I. Et
al, 1999.
c) excerpts from oratorio;
pp.274283
d) chorales;
6. explores other arts and media *Edukasyong
e) troubadour.
that portray Medieval, Pangkatawan,
Renaissance and Baroque Kalusugan at
elements; MU9MRB -Ib-f- Musika IV.
6 Sacdalan,
Guinevere I. Et
al, 1999.
pp.274286
7. improvises appropriate
accompaniment to given MU9MRB -Ib-d-
Medieval and 7
Renaissance songs;
8. create and or perform songs
MU9MRB-Ib-h-
in Gregorian and troubadour
8
styles;
9. play simple melodies of a *Edukasyong
chorale and provide Pangkatawan,
accompaniment. Kalusugan at
MU9MRB-Ib-h-
Musika IV.
9
Sacdalan,
Guinevere I. Et
al, 1999. pp.275
SECOND QUARTER

schools.
MUSIC OF THE The Learner… The Learner... The Learner...
CLASSICAL PERIOD 1. narrates the life and works of
(1750-1820) demonstrates sings and performs themes of classical composers after MU9CL-IIa-f-1
understanding of symphonies and other video and movie showing;
LEARNING
a) Historical and characteristic features of instrumental forms 2. relates Classical music to its *Edukasyong
cultural background; Classical period music historical and cultural Pangkatawan,
b) Sonata, sonata background; Kalusugan at
allegro form, demonstrates sings and performs themes of MU9CL-IIa-f-2 Musika IV.
concerto, understanding of symphonies and other Sacdalan,
symphony; characteristic features of instrumental forms Guinevere I. Et
c) Composers: Franz Classical period music al, 1999. pp.261
Josef Haydn, 3. explains the performance *Edukasyong
Wolfgang Amadeus practice (setting, composition, Pangkatawan,
Mozart, and Ludwig role of composers/performers, Kalusugan at
van Beethoven. and audience) during Musika IV.
MU9CL-IIa-f-3
Classical period; Sacdalan,
Guinevere I. Et
al, 1999.
pp.261272
4. listens perceptively to selected *Edukasyong
Classical period music; Pangkatawan,
Kalusugan at
Musika IV.
MU9CL-IIb-g-4
Sacdalan,
Guinevere I. Et
al, 1999.
pp.263264

schools.
5. describes musical elements of *Edukasyong
given Classical period pieces; Pangkatawan,
Kalusugan at
MU9CL-IIb-g-5
Musika IV.
Sacdalan,
Guinevere I. Et al,
1999. pp.261-272
6. analyzes sonata allegro form; *Edukasyong
Pangkatawan,
Kalusugan at
MU9CL-IIe-h-6 Musika IV.
Sacdalan,
Guinevere I. Et
LEARNING
MUSIC OF THE demonstrates sings and performs themes of al, 1999.

CLASSICAL PERIOD understanding of symphonies and other pp.262263
(1750-1820) characteristic features of instrumental forms 7. sings themes or melodic
Classical period music fragments of given Classical MU9CL-IIb-h-7
a) Historical and period pieces;
cultural background; 8. explores other arts and media *Edukasyong
b) Sonata, sonata that portrays Classical Pangkatawan,
allegro form, elements; Kalusugan at
concerto, Musika IV.
symphony; MU9CL-IIb-h-8 Sacdalan,
c) Composers: Franz Guinevere I. Et
Josef Haydn, al, 1999.
pp.268269

schools.
Wolfgang Amadeus 9. improvises appropriate
Mozart, and Ludwig accompaniment to given
MU9CL-IIe-9
van Beethoven. short and simple Classical
pieces.
THIRD QUARTER
The Learner… The Learner... The Learner...
INSTRUMENTAL MUSIC 1. narrates the life and works of
MU9RO-IIIa-h-
OF THE ROMANTIC demonstrates sings and performs themes romantic composers after
1
PERIOD (1820-1900) understanding of of video and movie showing;
characteristic features of selected instrumental pieces 2. relates Romantic period music *Edukasyong
a) Historical and instrumental Romantic
music to its historical and cultural Pangkatawan,
cultural Kalusugan at
background;
background; MU9RO-IIIa-2 Musika IV.
b) Program music; Sacdalan,
c) Piano music; Guinevere I. Et
d) Composers: al, 1999. pp.222
Frederic 3. explains the performance *Edukasyong
Chopin, Peter Illych practice (setting, composition, Pangkatawan,
Tchaikovsky, Franz role of composers/performers, Kalusugan at
Liszt, and Camille and audience) during the Musika IV.
Saint-Saens. MU9RO-IIIb-h-
Romantic period; Sacdalan,
3
Guinevere I. Et
al, 1999. pp.222-
LEARNING
INSTRUMENTAL MUSIC 229

schools.
OF THE ROMANTIC demonstrates sings and performs themes 4. listens perceptively to selected *Edukasyong
PERIOD (1820-1900) understanding of of Romantic period music ; Pangkatawan,
characteristic features of selected instrumental pieces Kalusugan at
instrumental Romantic MU9RO-IIIb-h-
a) Historical and Musika IV.
music 4
cultural background; Sacdalan,
b) Program music; Guinevere I. Et
c) Piano music; al, 1999. pp.226
d) Composers: Frederic 5. describes musical elements of *Edukasyong
Chopin, Peter Illych given Romantic period pieces; Pangkatawan,
Tchaikovsky, Franz Kalusugan at
Liszt, and Camille MU9RO-IIIb-h- Musika IV.
Saint-Saens. 5 Sacdalan,
Guinevere I. Et
al, 1999. pp.222-
229, 234-242
6. sings themes or melodic *Edukasyong
fragments of given Romantic Pangkatawan,
period pieces; Kalusugan at
MU9RO-IIIe-h-
Musika IV.
6
Sacdalan,
Guinevere I. Et
al, 1999. pp.228
7. explores other arts and media *Edukasyong
that portray Romantic period Pangkatawan,
elements; Kalusugan at
MU9RO-IIIc-h- Musika IV.
7 Sacdalan,
Guinevere I. Et
al, 1999.
pp.229233
8. improvises appropriate
accompaniment to given
MU9RO-IIIc-h-
short and simple Romantic
8
period pieces.

schools.
LEARNING
FOURTH QUARTER
Vocal Music of the The Learner… The Learner... The Learner...

Romantic Period 1. narrates the plot, musical and
demonstrates sings and performs themes theatrical elements of an MU9OP-IVa-g-
a) Art song understanding of of selected songs opera after video and movie 1
b) Opera characteristic features showing;
of vocal music of the
c) Composers: Franz 2. listens perceptively to selected
Romantic period MU9OP-IVa-g-
Schubert, art songs and excerpts of
2
Guiseppe Verdi, opera ;
Giacomo Puccini, 3. sings themes or melodic
and Richard MU9OP-IVb-h-
fragments of given selected
Wagner 3
songs;
4. explores other arts and media
MU9OP-IVb-h-
that portray Romantic period
4
elements;
5. creates / improvises
appropriate sounds, music,
MU9OP-IVb-h-
gestures, movements, and
5
costumes for a chosen
opera.

schools.
MUSIC - GRADE
10
MUSIC OF THE 20TH CENTURY
FIRST QUARTER
A. Impressionism The Learner… The Learner... The Learner... *Edukasyong

1. listens perceptively to selected Pangkatawan,
a) Historical and cultural demonstrates creates musical pieces 20th century music; Kalusugan at
background understanding of 20th usingparticular style/s of the Musika. Sacdalan,
MU10TC-Ia-h-1
b) Composers: Claude century music styles and 20th Century. Guinevere IV. et
Debussy, and Maurice characteristic features. al, 1999. pp.182,
Ravel 203-208
2. describes distinctive musical *Edukasyong
B. Expressionism elements of given pieces in Pangkatawan,
20th century styles; Kalusugan at
a) Historical and cultural MU10TC-Ia-h-2 Musika. Sacdalan,
background Guinevere IV. et
b) Composer: al, 1999. pp.
Schoenberg 203208

schools.
3. relates 20th century music to its *Edukasyong
C. Others historical and cultural Pangkatawan,
background; Kalusugan at
a) Electronic music MU10TC-Ia-g-3 Musika. Sacdalan,
b) Chance music Guinevere IV. et
al, 1999. pp.
203208
4. explains the performance *Edukasyong
practice (setting, composition, Pangkatawan,
role of Kalusugan at
composers/performers, and MU10TC-Ib-g-4 Musika. Sacdalan,
audience) of 20th century Guinevere IV. et
music; al, 1999. pp.
203208
5. sings melodic fragments of
given Impressionism period MU10TC-Ib-5
pieces;
6. explores other arts and media

A. Impressionism demonstrates understanding creates musical pieces that portray 20th century
MU10TC-Ic-h-6
of 20th century music styles usingparticular style/s of the elements through video films
and characteristic features. or live performances;

schools.
a) Historical and cultural 20th Century. 7. create short electronic and
background chance music pieces using
b) Composers: Claude knowledge of 20th century
Debussy, and styles.
Maurice Ravel
B. Expressionism
a) Historical and cultural MU10TC-Ic-h-7

background
b) Composer:
Schoenberg
C. Others
a) Electronic music
b) Chance music
SECOND QUARTER
AFRO-LATIN AND POPULAR The Learner… The Learner... The Learner...
MUSIC
demonstrates performs vocal and dance 1. observes dance styles,
1. Historical and (cultural understanding of forms of Afro-Latin American instruments, and rhythms of
background of African and characteristic features of music and selections of Afro Latin American and MU10AP-IIa-g-
Latin American music Afro-Latin American music Popular music popular music through video, 1
2. Background of Popular and Popular music movies and live
music performances;
3. African music 2. describes the historical and
a. Rhythms: cultural background of
Maracatu AfroLatin American and MU10AP-IIa-g-
b. Vocal forms: popular music; 2
blues,
soul, spiritual, call

schools.
and response demonstrates performs vocal and dance 3. listens perceptively to

4. Latin American music understanding of forms of Afro-Latin American AfroLatin American and MU10AP-IIa-h-
characteristic features of music and selections of popular music ; 3
a. Instruments
Afro-Latin American music Popular music
b. Vocal and Dance form:
and Popular music 4. dances to different selected
Cumbia, tango, cha- MU10AP-IIa-h-
styles of Afro-Latin American
cha. Rumba, 4
and popular music;
bossanova, reggae,
foxtrot, pasa doble 5. analyzes musical
5. Jazz characteristics of Afro-Latin MU10AP-IIa-h-
a. Instrumental forms: American and popular 5
ragtime, big band, music;
bebop, jazz rock 6. sings selections of Afro-Latin
6. Popular music American and popular music MU10AP-IIa-h-
a. Ballad, standard, rock in appropriate pitch, rhythm, 6
and roll, alternative style, and expression;
music, disco 7. explores ways of creating
sounds on a variety of
sources suitable to chosen MU10AP-IIa-7
vocal and instrumental
selections;
8. improvises simple
vocal/instrumental
MU10AP-IIe-f8
accompaniments to selected
songs;
9. choreographs a chosen dance
MU10AP-IIb-d-
music;
9

schools.
music performances
MU10AP-IIa-
using knowledge of
h10
style.
THIRD QUARTER
CONTEMPORARY The Learner… The Learner... The Learner...
PHILIPPINE MUSIC 1. listens perceptively to excerpts
(Minimum of 4 composers for demonstrates sings contemporary songs of major MU10CM-IIIa-
each) understanding of Contemporary works; h-1
characteristic features of
1. Traditional Composers contemporary music sings contemporary songs

demonstrates understanding
a. Lucio San Pedro of characteristic features of 2. describes characteristics of MU10CM-IIIa-
b. Antonino contemporary music traditional and new music; h-2
Buenaventura 3. gives a brief biography of *Edukasyong
c. Antonio Molina selected Contemporary Pangkatawan,
d. Alfredo Buenaventura Philippine composer/s ; Kalusugan at
MU10CM-IIIc-
e. Rodolfo Cornejo Musika. Sacdalan,
g-3
f. Bernardino Custodio Guinevere IV. et al,
g. Antonio Buencamino 1999. pp.209-
h. Hilarion Rubio 220, 247-259
i. Rosendo Santos 4. sings selections of
j. Ryan Cayabyab Contemporary music with MU10CM-IIIb-
appropriate pitch, rhythm, h-4
2. New Music style, and expression;
5. explores ways of creating
MU10CM-IIId-
a. Chino Toledo sounds on a variety of
e-5
b. Ramon Santos sources;

schools.
c. Jose Maceda 6. improvises simple
d. Manuel Maramba vocal/instrumental
MU10CM-IIId-
e. Lucresia Kasilag accompaniments to
e-5
f. Francisco Feliciano selected songs;
g. Jerry Dadap
h. Jonas Baes 7. create a musical on the life of a
selected contemporary MU10CM-IIIg-
Philippine composer; h-7
3. Song Composer
a. Constancio de
Guzman
b. Mike Velarde 8. evaluates music and music
c. Ernani Cuenco performances using MU10CM-IIIh-
d. Restie Umali knowledge of musical 8
e. George Canseco elements and style.
f. Levi Celerio
g. Angel Pena
h. Leopoldo Silos
i. Santiago Suarez
FOURTH QUARTER
20th and 21st century The Learner… The Learner... The Learner...
MULTIMEDIA FORMS 1. describes how an idea or story
1. demonstrates 1. performs in a musical play is MU10MM-IIIa-
1. OPERA understanding selections from presented in a live h-1
a) La Loba Negra of characteristic musical plays, performance or video;
b) Noli Me Tangere features of 20th ballet, opera in a 2. explains how theatrical
c) El Filibusterismo and 21st century satisfactory level elements in a selected part of
opera musical of performance. MU10MM-IIIa-
a musical play are combined
play, ballet and h-2
2. BALLET with music and media to
other
achieve certain effects;
schools.
a) Lola Basyang multimedia 2. creates a musical 3. sings selections from musical MU10MM-IIIc-
b) Rama Hari forms. work using media plays and opera expressively; h-3
& technology. 4. creates / improvises
3. MUSICAL PLAY 2. demonstrates appropriate sounds, music,
a) Andres Bonifacio understanding gestures,movements, and MU10MM-IIIc-
b) Atang of the costume using media and h-4
c) Katy relationship technology for a selected
among music, part of a musical play;
d) Florante at Laura
technology, and
e) Daragang 5. present an excerpt from a 20th
media.
Magayon or 21st century Philippine
MU10MM-IIIg-
f) Noli Me Tangere musical and highlight its
h-5
g) El Filibusterismo similarities and differences to
h) Magsimula ka other western musical play.
GLOSSARY
Accent emphasis/stress on a note, making it louder than the other notes
Accelerando becoming faster
Aerophone Any musical instrument that produces sound primarily by causing a body of air to vibrate, without the use of strings or membrane.
Allegro fast

schools.
Alto female voice of low range
Alternative music A type of rock music that originated from the 1980s.
Andante moderately slow, walking pace
Angklung An instrument, originally from Indonesia, made of two bamboo tubes attached to a bamboo frame.
Art song A vocal musical composition usually written for one voice with piano accompaniment.
Ballad A slow or sentimental romantic song.
Ballet An artistic dance form performed to music, using precise and highly formalized set steps and gestures.
Barline a vertical line that divides the staff into measures
Bass male voice of low range
Beat regular, recurrent pulsation that divides music into equal units of time
Bebop Jazz music with complex harmony and rhythms
Big band A large group of musicians playing jazz or dance music with improvised solos by lead players.
Binary Form a song or composition with two basic parts or ideas
Blues A musical style originating from African-Americans and is typically in a twelve-bar sequence; expresses sadness or depression.
Bodabil A genre of various entertainment composed of song, dance, comedy routines, magic acts, and chorus girls.
Bossa Nova A style of Brazilian music derived from samba but placing more emphasis on melody and less on percussion.

schools.
Cha-cha A ballroom dance with small steps and swaying hip movements, performed to a Latin American rhythm.
Chance music Music created by chance and its realization is left to the performer.
GLOSSARY
Chord combination of three or more tones sounded together
Chordophone Any musical instrument that produces sound primarily by vibrating strings.
Clef symbol placed at the beginning of the staff to show the exact pitch of each line and space
Concerto Musical composition for a solo instrument accompanied by an orchestra.
Concerto Grosso Musical composition for a group of solo instruments accompanied by an orchestra.
Crescendo gradually getting louder
Cumbia Dance music similar to salsa.
Da Capo repeat from the beginning; an indication usually meaning that the opening section of a piece is to be repeated after the middle section
Decrescendo gradually softer
Descant an independent treble melody or counterpoint usually sung or played above a basic melody
Disco Dance music typically soul-influenced and melodic with a regular bass beat popularized in the late 1970s.
Dynamics degrees of loudness and softness in music
Electronic music Music that employs electronic musical instruments and technology in production.
Expressionism A style which the maker seeks to express the inner world of emotion rather than external reality.
a symbol that notates the pitch of a note a half step lower

Flat Sign
Folksongs songs handed down from generation to generation

schools.
Form organization of musical ideas in time; structure of a musical composition
Forte (f) loud
Fortissimo (ff) very loud
Foxtrot A ballroom dance with uneven rhythm of alternating slow and quick steps.
A contrapuntal composition in which a short melody or phrase is introduced by one part and successively taken up by others; developed by the
Fugue
interweaving of the various parts.
GLOSSARY
Gamelan Indonesian musical ensemble featuring a variety of metallophones (instruments made of metal and played by hitting or striking).
Gangsa Ensemble An instrumental ensemble that uses metallophones
Grand Staff combination of the treble and bass staves, used to encompass the wide range of pitches
Harmony the pleasing sound produced when three or more tones are blended simultaneously
Homophonic Texture refers to a melody sung or played with chord accompaniment e.g. guitar or piano
Idiophones A musical instrument that creates sound through its own vibration, without the use of any strings or membrane.
Impressionism A style or movement that depicts the visual impression of the moment, especially in terms of the shifting effect of light and color.
Interval distance in pitch between two tones
J-Pop Japanese popular music.
Jazz Music originated from African-American people characterized by improvisation, syncopation, and usually a regular or forceful rhythm.

schools.
K-Pop Korean popular music.
Kabuki Traditional Japanese theater performance.
Key Signature sharp or flat signs immediately following the clef sign at the beginning of a piece of music, indicating the key in which the music is to be played
Key (tonality) central note, scale and chord within a piece, in relationship to which all other tones in the composition are heard
Keynote central tone of a melody or piece of music e.g. when a piece is in the Key of C Major, C is the keynote
Kulintang A set of gongs usually played by ensembles in Mindanao.
Largo very slow
Ledger Lines short, horizontal lines above or below the staff, used to indicate a pitch that falls above or below the range indicated by the staff
Liturgical music Music composed for and played during liturgical celebrations and worship.
Lumad Means “native” or “indigenous”.
Madrigal Music for several voices with elaborate counterpoint; was popular during the Renaissance Period.
Maracatu A musical style from Brazil.
GLOSSARY
Measure the space between two barlines, containing a fixed number of beats
Medieval Term that refers to the “Middle Ages”.
Melody the line of music that moves up and down in succession; series of single tones that add up to a recognizable whole

schools.
Melodic Contour the upward and downward direction of the notes
Melodic Pattern the combination of repeated, similar and contrasting figures, motives and phrases
Melodic Ostinato group of tones used to accompany a tone or a melody
Membranophone Any musical instrument that produces sound primarily by a vibrating stretched membrane.
Meter organization of beats into regular groups
Mezzo piano (mp) moderately soft
Mezzo forte (mf) moderately loud
Moderato moderate tempo
Monophonic Texture single melodic line without accompaniment
fragment of a theme, or short musical idea which is developed within a composition; refers to a short melody sung or played which can identify
Motive
a musical composition
refers to the relationship of melodic and harmonic elements in music which produces qualities of thickness and thinness, heaviness or lightness
Musical Texture
of a melody or sound produced
Musikong Bumbong An instrumental marching band that uses bamboo instruments.
Natural Sign symbol used to cancel a previous sharp or flat sign
Notation system of writing down music so that specific pitches and rhythms can be conveyed
Note symbol used to indicate pitch
Opera A dramatic work in one or more acts set to music for singers and instrumentalists.
Oratorio A large-scale musical work for orchestra and voices, usually narrative and typically on a sacred theme.
Ostinato motive or phrase that is repeated persistently at the same pitch

schools.
GLOSSARY
Pangkat Kawayan An instrumental ensemble that uses different kinds of bamboo instruments.
Pasa doble A fast-paced ballroom dance based on the Latin American style of marching.
Peking Opera Traditional Chinese theater performance.
Pentatonic Scale a five-tone scale, used in folk music and music of the Far East
Phrase musical statements that express meaning or ideas
Piano (p) soft
Pianissimo (pp) very soft; as softly as possible
Pinpeat A Cambodian instrumental ensemble.
Piphat A Thai instrumental ensemble which features wind and percussion instruments.
Pitch relative highness or lowness of a sound
Pitch Range distance between the highest and lowest tones that a given voice or instrument can produce
Polyphonic Texture refers to a musical composition with two or more independent melodies sung or played to create a harmonious effect
Program music Music that is intended to evoke images or to convey the impression of events.
Ragtime A kind of music which evolved with syncopated melodic line and regularly accented accompaniment.
Reggae A style of music originally from Jamaica and popularized in the 1960s.
Renaissance Term that refers to the revival of European art under the influence of Classical Models.
a symbol that indicates the duration of silence in music

Rest
Rhythm ordered flow of music through time; the pattern of durations of notes and silences in music
Rhythmic Pattern combinations of long and short sounds, notes and rests
Ritardando becoming slower

schools.
Rock and roll Popular dance music from the 1950s characterized by heavy beats and simple melodies.
Rondalla An instrumental ensemble that usually consists of musicians playing banduria, octavina, laud, guitar and double bass.
GLOSSARY
form of music wherein a melody change from a single-voiced texture to a many-voiced texture; each voice enters in succession; the effect is
Round
that of weaving a new and richer rhythmic and harmonic texture
Rumba A rhythmic dance with Spanish and African elements originally from Cuba.
Sacred music Music that promotes devotion and faith.
Sarsuela A musical stage performance popularized in the Philippines during the Spanish colonization.
Saung gauk An arched harp used in Myanmar.
Scale series of pitches arranged in ascending or descending order
Secular music Music for non-religious purposes.
Sharp Sign symbol that notates the pitch of a note a half step higher
Sonata A composition for an instrumental soloist, often with a piano accompaniment, typically in several movements with one or more in sonata form.
Sonata-allegro form A large-scale musical structure popularly used during the middle of the 18th century.
Soprano female voice of high range
Soul Musical style that incorporates rhythm and blues and gospel music popularized by African-American people.
Sound vibrations which are transmitted, usually through air, to the eardrum, which sends impulses to the brain
Staff a set of five lines and four spaces where notes are positioned or placed
Symphony An elaborate musical composition for full orchestra, typically in four movements, at least one of which is in sonata form.

schools.
Tango A ballroom dance originating from Buenos Aires, characterized by marked rhythms and postures and abrupt pauses.
Tempo rate of speed in music
Tenor male voice of high range
Timbre quality of sound that distinguishes one instrument or one voice from another
two numbers, one above the other, appearing at the beginning of a staff or the start of a piece, indicating the meter of a piece; the number
Time Signature
above refers to the number of beats per measure and the number below represents the kind of note getting one beat.
Tone sound that has a definite pitch or frequency
GLOSSARY
Triad the most basic type of chord, consisting of three alternate tones of the scale e.g. do, mi, so
Troubadour Street musicians singing of love during the Medieval Period.
Unison performance of a single melodic line by more than one instrument or voice a t the same pitch
Wayang Kulit Indonesian puppet shadow theater.

schools.
CODE BOOK LEGEND
Sample: MU7FT-IVe-h-6

schools.
LEGEND SAMPLE DOMAIN/ COMPONENT CODE
Rhythm RH
Learning Area and
Melody ME
Strand/ Subject or Music
Specialization Form FO
Timbre TB
First Entry MU7 Dynamics DY
Grade Level Grade 7 Tempo TP
Texture TX
Harmony HA
Domain/Content/ Music of Luzon LU
Uppercase Letter/s Theatrical Forms FT
Component/ Topic Music of Cordillera, Mindoro, Palawan, and the
LV
Visayas
- Music of Mindanao MN
Theatrical Forms FT
Roman Numeral Music of southeast asia SE
Quarter Fourth Quarter IV
*Zero if no specific quarter
Music of South Asia and Middle East WS
Lowercase Letter/s Traditional Asian Theater Music TH
*Put a hyphen (-) in between Music of the medieval period MRB
Week Week five to eight e-h
letters to indicate more than a Music of the classical period CL
specific week Instrumental music of the romantic period RO
Vocal Music of the Romantic Period OP
2O Century
th
TC
Describes how a specific
idea or story is Afro-latin and popular music AP
Arabic Number Competency communicated through 6 Contemporary Philippine music CM
music in a particular Multimedia forms MM
Philippine musical theater

schools.
REFERENCES
Abeles, Harold, Hoffer, Charles and Klotman, Robert. Foundations of Music Education, (New York: Schirmer Books, 1984)
Armstrong, Thomas. "American Institute for Learning and Human Development." Multiple Intelligences. 2010. http://www.thomasarmstrong.com/multiple_intelligences.htm.
Bruner, Jerome, The Process of Education. (Cambridge, Mass.: Harvard University Press, 1977)
Bureau of Elementary Education, 2002 Basic Education Curriculum. (Pasig City: Department of Education, 2002)
Bureau of Elementary Education, 2002 Philippine Elementary Learning Competencies. (Pasig City: Department of Education, 2002)
Bureau of Secondary Education, Department of Education. Basic Education Curriculum. Pasig City, 2002.
Bureau of Secondary Education, Department of Education Culture and Sports. Desired Learning Competencies New Secondary Education Curriculum. Pasig City, 1991.
Bureau of Secondary Education, Department of Education Culture and Sports. Desired Learning Competencies Philippine Secondary Schools Learning Competencies.
Pasig City, 1998.
Bureau of Secondary Education, Department of Education. Secondary Education Curriculum. Pasig City, 2010.
Gardner, Howard. "Multiple Intelligences." Howard Gardner. 2010. http://www.howardgardner.com/MI/mi.html.
Gardner, Howard, Multiple Intelligences. (New York: Basic Books Inc., 1991)
Miller, Cleve, Performance-Based Learning, (England: Cambridge University Press, 2008)
Miller, Cleve. "Performance-Based Learning (Mexico: Cambridge University Press, 2010)." Teaching Business English (audio blog), December 16, 2010. performance-
basedlearning.html.
Reimer, Bennett. A Philosophy of Music Education Advancing the Vision. 1991 ed. (Aesthetic Education. Upper Saddle River, New Jersey: Prentice Hall, 2003).
Reimer, Bennet, Journal of Aesthetic Education, (USA: University of Illinois Press, 1991)

schools.
Thomas, Ronald, A Structure for Music Education. (Bardonia, N.Y.: Media Materials Inc., 1970)
Thomas, Ronald B. MMCP Synthesis: A Structure for Music Education. (Bardonia, N.Y: Sponsored by the U.S. Office of Education Media Materials, 1970).
Wade, Bonnie C., Thinking Musically: Experiencing Music, Expressing Culture, (England: Oxford University Press, 2003)

schools.

2016 Music CG

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Republic of the Philippines

(Grade 1 to Grade 10)

K to 12 Music Curriculum Guide May 2016 Page 2of 124

PHILOSOPHY AND RATIONALE FOR MUSIC EDUCATION

K to 12 Music Curriculum Guide May 2016 Page 4of 124

Figure 1. The Curriculum Framework of Music and Arts Education

K to 12 Music Curriculum Guide May 2016 Page 5of 124

Grade 12Mastery of Proficiency in the chosen form or genre

Grade 11Mastery of Proficiency in the chosen form or genre

Grade 10Application of Contemporary Music and Arts

Grade 9Application – Western Music and Arts

Grade 8Application – Asian Music and Arts

Grade 7Application – Philippine Folk Music and Arts

Grade 6Application for Appropriate Mastery and Acquisition of Skills

Grade 5Exploration – Elements / Processes

Grade 4Formal Introduction to Elements / Processes

Grade 3Preliminary Acquisition of Basic Knowledge and Skills

Grade 2Enhanced Understanding of Fundamental Processes

Grade 1Introduction to the Fundamental Processes

KindergartenExposure to the Different Music & Art Processes

Figure 2. Content of Music and Art

K to 12 Music Curriculum Guide May 2016 Page 6of 124

Music Elements Music Processes

*No formal instruction in harmony

K to 12 Music Curriculum Guide May 2016 Page 7of 124

KEY STAGE STANDARDS:

The learner demonstrates The learner demonstrates

GRADE LEVEL STANDARDS:

Grade Level Grade Level Standards

I. RHYTHM demonstrates basic responds appropriately to Pilot School MTB-

2. relates images to sound and Music, Arts, Physical

Pilot School MTBMLE

4. maintains a steady beat when Pilot School MTBMLE

K to 12 Music Curriculum Guide May 2016 Page 10of 124

6. creates simple ostinato Pilot School MTB-

K to 12 Music Curriculum Guide May 2016 Page 11of 124

2. matches the correct pitch of Pilot School MTBMLE

K to 12 Music Curriculum Guide May 2016 Page 12of 124

4. matches the melody of a song Pilot School MTBMLE

K to 12 Music Curriculum Guide May 2016 Page 13of 124

8. relates basic concepts of Pilot School MTBMLE

9. chooses the exact geometric MU1FO-IIg-h-4 Pilot School MTBMLE

K to 12 Music Curriculum Guide May 2016 Page 14of 124

4. uses voice and other sources MU1TB-IIIb-4 Pilot School MTBMLE

8. interprets with body Pilot School MTBMLE

K to 12 Music Curriculum Guide May 2016 Page 15of 124

3. responds to varied tempo Pilot School MTBMLE

K to 12 Music Curriculum Guide May 2016 Page 16of 124

8. distinguishes accurately Pilot School MTBMLE

9. demonstrates the concept of Pilot School MTBMLE

K to 12 Music Curriculum Guide May 2016 Page 17of 124

3. replicates a simple series of Pilot School MTBMLE

4. maintains a steady beat when Pilot School MTBMLE

K to 12 Music Curriculum Guide May 2016 Page 18of 124

I. RHYTHM demonstrates basic responds appropriately to 2013 pp.25-31

7. writes stick notation on the Pilot School MTBMLE

K to 12 Music Curriculum Guide May 2016 Page 19of 124

8. plays simple ostinato patterns Music, Arts, Physical

2. responds to ranges of pitch Pilot School MTBMLE

II. MELODY demonstrates basic performs with accuracy of Health 2.Illagan,

K to 12 Music Curriculum Guide May 2016 Page 20of 124

4. sings the following songs with Pilot School MTBMLE