1.

Cordillera's Musical Instruments

1. Gangsa is a single hand-held smooth-surfaced gong with a narrow rim. A set of gangsa, which
is played one gong per musician, consists of gangsa tuned to different notes, depending on
regional or local cultural preferences. The number of gangsa in a set varies with availability, and
depends on the tradition of a particular ethnic group of the Luzon
Cordillera: Kalinga, Ifugao, Bontoc, etc.Among the Kalinga people in the Cordillera region of
Luzon Island, the gangsa is played in two ways. One way is called "toppaya" and the other is
called "pattung." In "toppaya" style, the musicians play the surface of the gangsa with their hand
while in a sitting position, with a single gangsa resting on the lap of each musician. In the
"pattung" style, a gangsa is suspended from the musician's left hand and played with a padded
stick held in the musician's right hand. In the "pattung" style of playing, the players are standing,
or they keep in step with the dancers while bending forward slightly.
(http://en.wikipedia.org/wiki/Gangsa)

2. Kalaleng or Tongali (nose flute) Because the kalaleng is long and has a narrow internal diameter, it is
possible to play different harmonics through overblowing—even with the rather weak airflow from one
nostril. Thus, this nose flute can play notes in a range of two and a half octaves. Finger holes in the side of the
bamboo tube change the operating length, giving various scales. Players plug the other nostril to increase the
force of their breath through the flute. (http://en.wikipedia.org/wiki/Nose_flute)

3. Tongatong is a bamboo percussion instrument used by the people of Kalinga to communicate with spirits
during house blessings. It is made of bamboo cut in various lengths. When you hit it against soft earth a
certain drone reverberates though the instrument's open mouth. When an entire set of Tongatong is played
in interloping rhythm and prolonged with the tribal chanting, it could put the audience and the dancers in a
trance. (http://philippinesheritage.ph/filer/toledo-cebu/Cordillera-Musical-Instruments.pdf)

4. Diwdiw-as is 5 or more different size of slender bamboo that

is tied together. (http://philippinesheritage.ph/filer/toledo-cebu/Cordillera-Musical-Instruments.pdf)

5. Saggeypo it is a bamboo pipe that is closed on one end by a node with the open end held against the
lower lip of the player as he blows directly across the top. The pipe can be played individually by
one person or in ensembles of three or more. (http://philippinesheritage.ph/filer/toledo-cebu/Cordillera-Musical-
Instruments.pdf)

6. Solibao is hallow wooden Igorot drug topped with pig skin or lizard skin this is played by striking
the drum head using the palm of the hand.
(http://philippinesheritage.ph/filer/toledo-cebu/Cordillera-Musical-Instruments.pdf)
 7. Bungkaka- bamboo buzzer
http://sppcfreshmen20102011.wordpress.com/2010/07/25/kalinga-music/

8. Kullitong- polychordal bamboo tube zither

http://sppcfreshmen20102011.wordpress.com/2010/07/25/kalinga-music/

9. Ulibaw- bamboo jaw’s harp

http://sppcfreshmen20102011.wordpress.com/2010/07/25/kalinga-music/

10. Patangguk- bamboo quill-shaped tubehttp://sppcfreshmen20102011.wordpress.com/2010/07/25/kalinga-music/

11. Pateteg- bamboo leg xylophonehttp://sppcfreshmen20102011.wordpress.com/2010/07/25/kalinga-music/

12. Paldong- bamboo lip-valley flutehttp://sppcfreshmen20102011.wordpress.com/2010/07/25/kalinga-music/

Palabuniyan Kulintang Ensemble

Back to Highlights
The PALABUNIYAN KULINTANG ENSEMBLE, under the artistic direction of Master Danongan “Danny” Kalanduyan, presents traditional music and dance of
the Southern Philippines. Their specialty is traditional kulintang (bronze gong) ensemble music of the Maguindanaon culture of Mindanao Island.

What is kulintang?

Preserved for more than 1700 years by the indigenous, Islamized ethnolinguistic groups in Mindanao, kulintangan is a living testament to the rich cultural
history of the Philippines.

Kulintangan is an ancient form of orchestra music which predates the influences of Islam, Christianity or the West in the Philippine Islands (PI). As part of
the larger ‘knobbed gong-chime culture’ of Southeast Asia, kulintang music ensembles have been playing for centuries. It is said to have evolved from a
simple native signaling tradition, and developed into its present form with the incorporation of knobbed gongs from Sunda.

The ensemble is made up of five instruments. The kulintang instrument consists of a row of small brass or bronze gongs horizontally laid upon a wooden
rack; it is the main melody instrument and is played by striking the bosses of the gongs with two wooden beaters. Accompanying instruments include
the gandang, the two headed cylindrical drum, as well as the duahan agong pair consisting of the bua (a giant sized gong) and pulakan (a narrow shaped
knobbed gong).

Compositions are passed down orally from generation to generation. The beauty of the music of kulintangan lies in the collective artistry of all the
members of the ensemble. As an oral tradition, one has to hear it repeatedly until it ‘gets in the blood.’ Once a musician has trained his or her ear to
recognize rhythms and meldies, one can perform the required improvisation, still following the traditional formats. Of course, one sets the temp.
Likewise, another directs the general theme of music. While one musician establishes the tempo, another will direct the general theme. The piece then
evolves fromt, they will listen to each other carefully, augmenting and playing in counterpoint to one another. It is at this moment that the diversity of
their talents and the diversity of their musical
instruments come to life.

4.

Like their brothers from central and northern Philippines, Filipinos in the South are avid lovers of dance. The dances, particularly of the Maguindanao, the
Maranao, and the Taosug, are largely ceremonial and are often accompanied by percussion instruments such as gongs and drums. The presence of
Indian influences, introduced no doubt by Hinduized Malays, is prominent in the dance called Kandingan, a Taosug wedding dance; in the Lanao
dance Singkil, performed in the presence of the Maranao royal family; in the Sagayan, a Maranao and Maguindanao war dance recalling the exploits of
the great Muslim warrior Bantugan; in the Pangalay, performed with expressive hand movements in varied versions among the Tausog, Badjao and
Samal; in the Tahing Baila, a Yakan dance for a bountiful fish catch; and in the Lunsay, a popular Jama Mapun community song-and-dance number
performed during wedding celebrations.

(Source: Pobre, C.P., et al, 1978. Tuladan, The Philippine South. Metro Manila, Philippines: The Executive Committee; 160pp.)

Back to Regional Cultures Page

SINGKIL

The Maranao dance called Singkil is in the

repertory of all Filipino dance troupes. There are
many interpretations of this dance. In 1958 the
Bayanihan Dance troupe started with a simple
version and has since developed it into a
theatrical and stylized spectacle to the point of its
becoming the troupe's signature piece.

According to Maranao legend, the Singkil derives its name from the feat of a certain Princess
Gandingan. While she was walking in the forest, diwatas (fairies) caused the earth to quake and shake
the trees and rocks; Princess Gandingan, however, skipped nimbly from one place to another so that
her feet did not touch the fallen trees and rocks. Originally, in Singkil (Maranao word for "getting a leg
or foot entangled in an object") a solo female performer danced in and out of crisscrossed bamboo
poles, keeping time to the syncopation of the poles, at the same time manipulating two fans
(apir). The dance had no music other than the beating of the poles and had a moderate and static
rhythm. In today's versions of the dance a retinue follows the star performer skillfully skip in and out
of crisscrossing bamboo poles that are rhythmically clapped to the beat of an ensemble
of kotiyapi (bamboo guitar), insi (bamboo flute), kobing (harp), and tintikan (metal sticks).

Source: Alejandro, R.G., 1978. Philippine Dance: Mainstream and Crosscurrents. Manila: Vera-Reyes,
Inc.; 254pp.)

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Back to Regional Cultures Page
KANDINGAN

Performed at Tausog weddings in Jolo, the Kandingan consists of figures and steps based on classical and traditional Indian dance forms. Dancers
perform with slightly bent knees turned outward, fingers held stiffly together with the thumb outward and apart. There is no definite number of steps,
no sequence of figures, no lines of direction, no particular foot and arm movements--only a total dependence on the ability and mood of the individual
dancer. Whereas Maranao society has no sanction for men and women dancing together, the Tausogs in Kandingan require mixed dancing. The name
of the dance is derived from gandang, a musical instrument similar to a drum.

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Back to Regional Cultures Page

LUNSAY

Lunsay, a game song-dance among the Jama Mapun of Cagayan de Sulu, is performed during wedding celebrations. A group dance, it features a coil or
spiral of handholding male and female dancers who join in and drop out as the dance goes on. An essential element of Lunsay is the clicking sound of a
bamboo floor laid crosswise over the original floor of the house in which the dance is performed.

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Back to Regional Cultures Page

PANGALAY

There are various versions of the dance

called Pangalay, popular among the Badjao, Samal, and
Tausog groups. The basic dance, with its expressive
hand movements, is sometimes performed with long
silver or golden nails (called janggay) attached to the
dancers' fingers. Among the Badjao-Samal groups, a
Spanish-influenced Pangalay, a dance called Bulah-
bulah, employs shell or bamboo castanets. Another
variation of the dance is one in which a girl performs
atop two bamboo poles borne on the shoulders of two
men and is called Pangalay sa Patong.

Vera-Reyes Inc., 1978

6. An Act Providing for the Promotion and Financing of an Integrated Physical Education and Sports Development Program for the Schools in
the Philippines
Republic Act No. 5708
Congress of the Philippines
21 June 1969
The Schools Physical Education and Sports Development Act of 1969

Be it enacted by the Senate and House of Representatives of the Philippines in Congress assembled:

Section 1. This Act shall be known as “The Schools Physical Education and Sports Development Act of 1969.”

Section 2. An integrated physical education and sports development program in all schools in the Philippines shall be undertaken by the
Department of Education in accordance with the following guiding principles:

(1) The goal of physical education is to instill in young citizens a proper appreciation of the importance of physical development hand in hand
with the mental development in individual and social activities;

(2) The sports and other activities in a physical education program should provide opportunities for the athletic development of children and
youth who have the competitive spirit as well as grace, coordination, stamina and strength;
(3) A well-rounded physical education program must be addressed to physical growth, social training, and personal, discipline for all pupils and
students, as well as superior athletic achievement for those who are psychologically inclined and physically gifted; and

(4) An integrated program for sports development in the schools requires effective organizational planning and administration with provisions
for adequate training facilities and sustained stable financing.

Section 3. Pursuant to the guiding principles as herein above provided, the Secretary of education shall prescribed by regulation a program of
activities in the Bureau of Public Schools, Bureau of Private Schools and the Bureau of Vocational Education which shall include among others
(1) a program of health education and nutrition with increased emphasis on food production activities to augment and improve the pupils' and
students' diets; (2) a program of general physical fitness for all pupils in the elementary and secondary schools through an observance of a
daily routine of calisthenics exercises and a separate daily period in the school program for physical education including folk dancing and
gymnastics; (3) a program of competitive athletics in all schools starting in the intermediate grades with a view to identifying promising
athletes whose participation in individual and team athletics should be further encouraged, developed and supervised more intensively in the
secondary schools; (4) a program of intramural and inter-unit athletic competition within schools, districts and provinces prescribed by the
three bureaus with proper recognition and incentive awards for outstanding performance in competitive activities; and (5) an annual program
of athletic competition within and among regions and in interscholastic or national meets formulated by athletic associations organized by
each bureau: Provided, That in the formulation of regulations the Secretary of Education shall seek the recommendation of the Department of
Health through its Secretary with respect to the program of general physical fitness for pupils and students and the program of health
education in the present.

Section 4. There shall be created in the Department of Education a Physical Education and Sports Center Development Commission composed
of the assistant Secretary for Physical Education, as Chairman the Director of Public Works, the Physical Director of the University of the
Philippines, the three coordinators each representing the Bureau of the Public Schools, the Bureau of Vocational Education, and the Bureau of
Private Schools and the President of the Philippine Amateur Athletics Federation, as members. The Assistant Secretary for Physical Education
shall be appointed by the President of the Philippines with the consent of the Commission on Appointments. The three coordinators, who shall
have the rank of division superintendents of schools, shall be appointed by the Secretary of Education.

The Assistant Secretary for Physical Education shall act as Executive Director of the Commission.

Section 5. The Assistant Secretary for Physical Education shall oversee the promotion and coordination of the schools physical education and a
sports development program under the general supervision and control of the Secretary of Education. The Physical education coordinators
shall promote and coordinate the physical education and sports development program in their respective bureaus under the direction of the
corresponding bureau director.

The Physical Education and Sports Development Commission shall submit an annual report to the Secretary of Education who shall make
appropriate recommendations to the President and to the Congress.

Section 6. There shall be a physical education supervisor in each division of the Bureau of Public Schools, a regional physical education
supervisor for each region of the Bureau of Private Schools, and nine physical education supervisors in the Bureau of Vocational Education to
be assigned by geographical area. The physical education supervisors shall be appointed by the Secretary of Education upon the
recommendation of the respective bureau directors. The supervisor shall be appointed with priority from among the highest qualified ranking
supervisors from their respective bureaus. These supervisors shall promote and coordinate the physical education activities in their respective
divisions or regions and shall assume leadership in sports promotion in their respective areas.

Section 7. Within one year following the effectivity of this Act, the Department of Education shall undertake a five-year coach development
program, in coordination with similar programs launched by the University of the Philippines, and the Philippine Amateur Athletic Federation
(PAAF) and the Armed Forces of the Philippines, for the training of coaches in the Bureau of Public Schools, Bureau of Private Schools, and the
Bureau of Vocational Education. Phase one of this program shall be on the national level to consist of the training program on the provincial
level by graduate coaching instructors; Phase three, to consist of coaching seminars or clinics on the school level.

Supplementary training programs may be made available in the form of scholarships of from six months to on year to the National College of
Physical Education or in the University of the Philippines, or in the form of coaching clinics under specialists invited from abroad.

The five-year coach development program shall be financed from national appropriations: Provided, However, That scholarships under the
supplementary training program as hereinabove provided, shall be available to participants from the Bureau of Vocational Education and the
Armed Forces of the Philippines: And, Provided, Further, That the supplementary training program shall also be open to participants from
private schools, colleges and universities at the expense of the sponsoring institution.

Section 8. A ten-year program for the construction and development of sports centers in each province is hereby authorized to be financed out
of funds of the Physical Education and Sports Center Development Commission created in Section four of this Act. Sports centers shall be
established in cities, provincial capitals or in municipalities determined by the Commission upon the recommendation of the provincial board
or the city council, as the case may be, as the sports center site for the province, which shall have standard grounds and facilities for track and
field and ball games, gymnasia, swimming pools and dormitory and cafeteria, facilities for coaches and athletes in training for the regional,
interscholastic and national athletic meets. The Commission shall prescribe the rules for their administration and operation: Provided, That
provisions shall be made for the use of the facilities of the sports centers by the public and private schools and duly organized athletic
associations in the region.

Section 9. It shall be the responsibility of the Commission to undertake a ten-year construction and development program of sports centers in
all provinces and to administer the funds authorized under this Act.

Section 10. It shall be the function of the Commission to decide on the plans and specifications for the construction of sports centers or of the
improvement of existing ones; to establish the priorities for their construction of improvement; enter into contracts for all sports center
construction projects; authorize and approve payments of the same; or otherwise perform all such other acts as are necessary to an efficient
prosecution of the sports center development program: Provided, However, That no construction or improvement projects shall be authorized
 unless the site shall have been duly decided upon by local authorities concerned and the property duly acquired by the local government:
Provided, Further, That first priority shall be given to provinces which are immediate hosts to an interscholastic and/or regional athletic meets:
And Provided, Finally, That the national appropriation for the construction of any new sports center shall not exceed five hundred thousand
pesos nor shall the appropriations for the improvement of an existing one exceed two hundred fifty thousand pesos.

Section 11. There shall be charged an athletic fee of an amount not exceeding ten pesos per annum from each college and university student,
public and private, the total sum collected each year to be expended exclusively for the promotion of the schools physical education and sports
center development program. No other athletic fee of any kind or under any denomination whatsoever; shall be charged by any school, public
or private.

The receipts and expenditures of every school from athletic fees collected under this section shall be subject to examination by the Physical
Education and Sports Center Development Commission.

Section 12. The financing of the regional or interscholastic meets shall be met by the host province from sale of admission tickets for the meet,
from transfers of the general funds of the province or city, or from contributions of member institutions in the case of private schools, or from
donations from the private sector.

Section 13. There is hereby authorized to be appropriated annually for five consecutive years starting with the fiscal year next following the
approval of this Act, out of any funds in the National Treasury not otherwise appropriated, the sum of five million pesos, the five-year annual
appropriation to constitute a revolving fund, to finance the five-year physical education and sports development programs of the Department
of Education, subject to such rules and regulations promulgated by the Commission and approved by the Secretary of Education. Thereafter,
such sums as are necessary to carry on the programs shall be included in the annual General Appropriations Act.

Section 14. The sum of five million pesos is hereby authorized to be appropriated annually for ten consecutive years, starting with the fiscal
year next following the approval of this Act, out of any funds in the National Treasury not otherwise appropriated, to finance the ten-year
sports center development program, the annual appropriations to be deposited with the Philippine National Bank to constitute the funds of
the Commission established under the provisions of Section four hereof; Provided, However, That all unexpended balances following the
termination of the ten-year program shall be transferred to the credit of the Department of Education to be expended for the schools sports
development program under such rules and regulations as the President of the Philippines shall prescribe.

Section 15. All Acts or parts of Acts inconsistent with the provisions of this Act are hereby repealed.

Section 16. This Act shall take effect upon its approval.

 7. INTEGRITY. A great sports official is the last guardian of honesty in athletics. ...
 HUSTLE. Since officiating is a game of angles and positioning, officiating hustle describes movement and court position. ...
 JUDGMENT. ...
 COMMUNICATION. ...
 CONSISTENCY. ...
 COURAGE. ...
 COMMON SENSE.

8. A single-elimination, knockout, or sudden death tournament is a type of elimination tournament where the loser of each match-up is
immediately eliminated from the tournament. Each winner will play another in the next round, until the final match-up, whose winner
becomes the tournament champion.

A bye in sports (and certain other competitions) refers to organizers scheduling a competitor to not participate in a given round of
competition, due to one of several circumstances.

Sepak is Malay for “kick” and takraw is Thai for “a woven ball”, therefore sepak takraw quite literally means “to kick ball”. The choosing of this name for
the sport was essentially a compromise between Malaysia and Thailand, the two powerhouse countries of the sport.

History

Sepak Takraw originates in South-East Asia. The earliest historical evidence shows the game was played in the 15th century's Malacca Sultanate, for it is
mentioned in the Malay historical text, “Sejarah Melayu” or “Malay Annals”.

Recorded history of the game also exists in Wat Phra Kaeo. This sacred Buddhist temple in Bangkok (Thailand), contains murals depicting he Hindu god,
Hanuman, playing takraw in a ring with a troop of monkeys :

Other historical documents record the game being played during the reign of King Naresuan (1590-1605).

As with all history the true origin lies in debate, with many countries claiming it as their own. Some believe the practice evolved from a similar game
played by the Chinese military, which is thought to have spread through trade with China.

Rules
Sepak takraw is played between two teams of three players; the left inside, right inside and back. The court is about the same size as a badminton court
(20 by 44 feet) and the net is 1.52 metres high. Traditionally balls were hand-woven from bamboo or rattan, but most modern ones are synthetic.

Basic rules and scoring are similar to volleyball. Each team is allowed a maximum of three touches of the ball to get it back over the net to the other side
without letting it touch the ground. The first team to score either 15 or 21 points, depending on the rules in play, wins the set. The team that prevails in
two sets wins the match.

Play starts when the server is tossed the grapefruit-sized ball by a teammate while keeping one foot in a small 'serving circle'. He then must kick the ball
over the net with the other foot. After that, volleyball rules pretty much apply, except for the fact that the ball can't be touched by the hands or arms.
Top takraw players have to combine great foot-eye coordination with quickness, anticipation, power, flexibility, and acrobatic skills.

Earliest evidence shows that the game was played in Malacca (Melaka), Malaysia's most historical city, in the 15 century, for it is mentioned in the
famous Malay historical text, "The Sejarah Melayu" (Malay Annals). However, the game had undergone a significant change by the mid-1930s. In 1935, in
the Malaysian State of Negeri Sembilan, during the Silver Jubilee celebration of King George V, 'Sepak Raga' was played on a badminton court over the
net with players on both sides. Both badminton and 'Sepak Raga' rules were combined to form a new, very exciting game. Because the game was
introduced during the Jubilee celebration, it was known as 'Sepak Raga Jubilee'.

11. Carlos "Caloy" Loyzaga y Matute (August 29, 1930 – January 27, 2016) was a Filipino basketball player and coach. He was the most dominant
basketball player of his era in the Philippines and is considered as the greatest Filipino basketball player of all time. Loyzaga was a two-time Olympian
(1952, 1956), as a member of the Philippines men's national basketball team.

Robert Vincent Salazar Jaworski (Tagalog pronunciation: [dʒaˈwɔɾski]; born March 8, 1946) is a Filipino former professional basketball player, head coach
and politician who served as a Senator of the Philippines from 1998 to 2004. He played 23 seasons in the Philippine Basketball Association.

Anthony N. Villanueva (March 18, 1945 – May 13, 2014) was a boxer from the Philippines. He competed in the featherweight (−57 kg) division at the
1964 Olympics and won a silver medal. Shortly after the Olympics he turned professional, but retired after five bouts.

Gabriel "Flash" Elorde (March 25, 1935 – January 2, 1985) was a Filipino professional boxer. He won the lineal super featherweight title in 1960. In 1963,
he won the inaugural WBC and WBA super featherweight titles.

13 Gymnastics is a sport that includes exercises requiring balance, strength, flexibility, agility, coordination, and endurance. The movements involved in
gymnastics contribute to the development of the arms, legs, shoulders, back, chest, and abdominal muscle groups. Alertness, precision, daring, self-
confidence, and self-discipline are mental traits that can also be developed through gymnastics.[1] Gymnastics evolved from exercises used by the
ancient Greeks that included skills for mounting and dismounting a horse, and from circus performance skills.

The four competitive apparatus in Women's Artistic Gymnastics are:

 Vault
a 20m sprint to the vaulting table followed by springing onto and off the hands and landing perfectly on the other side. Extra rotations at any
point increase the difficulty.

 Uneven Bars
requiring strength, precision, rhythm, concentration
and courage; the gymnast moves from one bar to the
other, alternating grip changes, releases and regrasps,
saltos and changes of direction with circular swings.

 Beam
balance at its most extreme, adding an extra element to the acrobatic sequences,
gymnastic jumps and turns. It is an exercise not only of flexibility, but also of
concentration, rhythm and expression.

 Floor
a creative combination of expressive dance, daring acrobatics and powerful gymnastics performed to
music, where each gymnast communicates her own personality and style.

14
  The playing court shall have a flat, hard surface free from
obstructions with dimensions of 28 m in length by 15 m in width measured from the inner edge of the boundary
line. All lines shall be drawn in white color, 5 cm in width, and clearly visible. Also, team bench areas shall be
marked outside the playing court limited by 2 lines as shown in the image above.

 The playing court shall be limited by the boundary line, consisting of the endlines and the sidelines. These lines are
not part of the playing court. Any obstruction including seated team bench personnel shall be at least 2 m from the
playing court.

 The free-throw line shall be drawn parallel to each endline. It shall have its furthest edge 5.80 m from the inner
edge of the endline and shall be 3.60 m long. Its mid-point shall lie on the imaginary line joining the mid-point of
the 2 endlines.

1 5.

25

The Citizens’ DrugWatch Foundation called on local government units yesterday to be on alert against the increasing use of children by drug syndicates as
couriers and street pushers.

Senators Profile - Ernesto Herrera - Senate of the Philippines

He was Chairman of Crimewatch and the founding chairman of the Citizens' Drug Watch Foundation, Inc. and president of the Carlos P. Garcia
Foundation, Inc.

26Comprehensive Dangerous Drugs Act of 2002 or Republic Act No. 9165 is a consolidation of Senate Bill No. 1858 and House Bill No. 4433. It was
enacted and passed by the Senate of the Philippines and House of Representatives of the Philippines on May 30, 2002 and May 29, 2002, respectively. It
was signed into law by President Gloria Macapagal-Arroyo on June 7, 2002.
This Act repealed the Republic Act No. 6425, otherwise known as the Dangerous Drugs Act of 1972, as amended, and providing funds for its
implementation. Under this Act, the Dangerous Drugs Board (DDB) remains as the policy-making and strategy-formulating body in planning and
formulation of policies and program on drug prevention and control.
It also created the Philippine Drug Enforcement Agency (PDEA) under the Office of the President, which serves as the implementing arm of the DDB, shall
be responsible for the efficient and effective ambt ... law enforcement of all the provisions on any dangerous drugs, controlled precursors and essential
chemicals as provided in this Act.

27

28Drug Abuse Resistance Education (DARE)

National Price Coordinating Council (NPCC)

Department of Environment and Natural Resources (Filipino: Kagawaran ng Kapaligiran at Likas na Yaman, DENR or KKLY)

29. PROPER WASTE DISPOSAL

4 Methods of Proper Waste Disposal

It is important how you carry out waste disposal. In today’s world where population is on the rise and so is rapidindustrialization, creation of waste
material is a common phenomenon. These wastes are harmful to the environmentand how you dispose them off depends on how they affect the
environment. Proper disposal of waste material helpskeep the environment free from disease causing pathogens and keeps it green. Given below are
four methods ofproper waste management that will help you keep your environment clean
1. Recycling
!ecycling is one of the most well know method of managing waste. It is not e"pensive and can be easily done byyou. If you carry out recycling, you will
save a lot of energy, resources and thereby reduce pollution. #ou can alsosave money if you recycle. #ou can recycle papers, glass, aluminum and plastics.
If you want to reduce the volume of your waste material, the best way to do so would be to recycle. If you recycle, you can eliminate batteries, tires
and asphalt from your waste material and this prevents them fromending up in the landfills and incinerator. The municipality of almost all cities
encourages their citizens to take uprecycling. $e a responsible citizen and reduce your waste by recycling.
2. Composting
This is a natural process that is completely free of any hazardous by%products. This process involves breaking downthe materials into organic compounds
that can be used as manure. #ou can carry out composting in your ownbackyard. #ou can use the leaves, grass, twigs and add vegetable and fruit
peels and skins. #ou can use&'T( binhire system to get the bins for composting. 'fter a few days, you will see that the matter has decomposed. #ou canuse
this compost, which is rich in nutrients, to improve the soil in your garden.
3. Landfills
)aste management through the use of landfills involves the use of a large area. This place is dug open and filled withthe waste. The area is then covered
up with soil. *andfills are not safe because they give off gases like methane,which are highly hazardous. #ou should not carry out waste management
through landfills if you cannot ensureproper safety means. The landfill should be properly lined and the waste should not come in contact with
thead+oining areas.
4. B rning the Waste Material
If you cannot recycle or if there are no proper places for setting up landfills, you can burn the waste matter generatedin your household. ontrolled
burning of waste at high temperatures to produce steam and ash is a preferred wastedisposal techni-ue. ombustion reduces the volume of waste to
be disposed significantly. oreover, solid waste canprovide for a continuously available and alternative source for generating energy through combustion.

32. REPUBLIC ACT NO. 3931, COMMONLY KNOWN AS THE POLLUTION CONTROL LAW, AND FOR OTHER PURPOSES

WHEREAS, there is a need to modify the organizational structure of the NATIONAL POLLUTION CONTROL COMMISSION to make it more effective and
efficient in the discharge of its functions and responsive to the demands of the times occasioned by the accelerative phase of the country's
industrialization program;

WHEREAS, there is an imperative need to strengthen this Commission to best protect the people from the growing menace of environmental pollution;
and

WHEREAS, it is urgently necessary to maintain the role of the Commission as the primary agency responsible for the prevention and control of
environmental pollution;

The Department of Environment and Natural Resources (DENR) has started to upgrade its air quality monitoring facilities in its aim to bring down
concentrations of total suspended particulates (TSP) and other air pollutants to healthy levels.

Environmental Management Bureau (EMB) Director Juan Miguel Cuna said the equipment is capable of measuring criteria pollutants such as sulphur
dioxide, nitrogen dioxide, ozone, carbon monoxide, benzene, toluene and xylene, as well as meteorological data.

34

35. Elements of Music

Pitch – register (high or low); Organization of pitches with a pattern of intervals between them creates scales; Words we might use
to describe scales: major/minor, chromatic, gapped, pentatonic.
 Rhythm – the time element of music. A specific rhythm is a specific pattern in time; we usually hear these in relation to a steady
pulse, and mentally organize this pulse or tempo into meter (sometimes called a "time signature"). Meter organizes beats
into groups, usually of two or three; beats can be divided into small units usually 2, 3 or 4 subdivisions

Melody, or musical line, is a combination of pitch and rhythm (some say "duration"). Sometimes a melody is considered to be
the theme of a composition. We might characterize melody by its contour (rising or falling) and the size of the intervals in
it. A melody that uses mostly small intervals (or scale steps) and is smooth is said to be a conjunct melody. Not
surprisingly, a melody that uses large intervals is called a disjunct melody. A motif (or motive) is either a very short melody
or a distinctive part of a longer melody. I might describe the opening four notes of Beethoven's Fifth Symphony as a
"motific cell."

Timbre – sound quality or tone color; timbre is the characteristic that allows us to distinguish between one instrument and another,
and the difference between vowel sounds (for example, long "a" or "ee"). Terms we might use to describe timbre: bright,
dark, brassy, reedy, harsh, noisy, thin, buzzy, pure, raspy, shrill, mellow, strained. I prefer to avoid describing timbre in
emotional terms (excited, angry, happy, sad, etc.); that is not the sound quality, it is its effect or interpretation. Rather than
describe the timbre of an instrument in other terms, it is often more clear just to describe the timbre by naming the
instrument, once we have learned the names and sounds of a few instruments.

Dynamics – loud or soft. A composition that has extremely soft passages as well as extremely loud passages is said to have a large or
wide dynamic range. Dynamics can change suddenly or gradually (crescendo, getting louder, or decrescendo, getting
softer.)

Texture – monophonic (one voice or line),

36. The musical form (anyo) of leron leron sinta is UNITARY FORM

Rondo Form is a natural extension of the 2 forms we have looked at already – Binary Form and Ternary Form. If Binary Form is A-B and Ternary Form is A-
B-A then Rondo Form is A-B-A-C-A-D-A.

Binary Form describes the structure of a piece of music which is divided into 2 different sections. The 2 sections are usually labelled A and B.

TERNARY FORM

A musical structure where the piece is divided into 3 distinct sections. The 1st and last sections are exactly the same as each other and so the form can be
written A – B – A

37. These conducting patterns change based on the time signature, but the most common patterns used are for songs with 4, 3, or 2 beats per measure.
In the following illustration:
The numbers represent the beats in each measure.
The arrows represent the direction of movement between beats.
The word out represents a movement away from your body.
The word in represents a movement towards the center of your
body.

40 Vocal Ranges

A typical choral arrangement divides women into higher and lower

voices and men into higher or lower voices. Most voices can be
assigned one of these four ranges, and this gives the composer four
vocal lines to work with, which is usually enough. The four main
vocal ranges are:

 Soprano – A high female (or boy’s) voice

 Alto – A low female (or boy’s) voice

 Tenor – A high (adult) male voice

 Bass – A low (adult) male voice

41. Any sequence of seven successive natural notes, such as C–D–E–F–G–A–B, and any transposition thereof, is a diatonic scale. Modern musical
keyboards are designed so that the white notes form a diatonic scale, though transpositions of this diatonic scale require one or more black keys.

42 The vocal folds (vocal cords) then vibrate to use airflow from the lungs to create audible pulses that form the laryngeal sound source. The muscles of
the larynx adjust the length and tension of the vocal folds to 'fine-tune' pitch and tone.

43.

44. The Symphony No. 5 in C minor of Ludwig van Beethoven, Op. 67, was written between 1804 and 1808. It is one of the best-known compositions in
classical music and one of the most frequently played symphonies, and it is widely considered one of the cornerstones of western music.
45. mahori now means an ensemble composed of the stringed and percussion instruments, it originally refer only to the string ensemble
A piphat (Thai: ปี่ พาทย์, pronounced [pìːpʰâːt]) is a kind of ensemble in the classical music of Thailand, which features wind and percussion instruments.
Gamelan (/ˈɡæməlæn/[1]) is the traditional ensemble music of Java and Bali in Indonesia, made up predominantly of percussive instruments.
Wong khrueang sai (Thai: วงเครือ ่ งสาย, pronounced [woŋ kʰrɯ̂ əŋ sǎːj], literally "string ensemble") is a musical ensemble in Thai classical music which
consists primarily of string instruments.
50. Amphetamines are central nervous system (CNS) stimulants and belong to psychoactive drugs that affect chemicals in the brain, nerves and exert a
constant contribution to hyperactivity and impulse control.

Amphetamines are a collective group of drugs that include amphetamines and amphetamine derivatives such as dextroamphetamine, levoamphetamine,
and methamphetamine. Amphetamines speed up the brain and are highly addictive central nervous system stimulants. The most common types of
amphetamines are those legally prescribed to treat attention deficit disorder ADD, attention deficit hyperactivity disorder ADHD, narcolepsy, and obesity.
Other amphetamines may be used to enhance cognition or performance and many are abused for their euphoric properties.

Shabu, a slang term for the drug methamphetamine used in Japan, Hong Kong, Philippines, Malaysia and Indonesia

Histamine is an organic nitrogenous compound involved in local immune responses, as well as regulating physiological function in the gut and acting as a
neurotransmitter for the brain, spinal cord, and uterus. Histamine is involved in the inflammatory response and has a central role as a mediator of itching.

Cocaine, also known as coke, is a strong stimulant most frequently used as a recreational drug.[