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Republic of the Philippines

Department of Education Regional Office IX, Zamboanga Peninsula

MUSIC Quarter 2, Wk.1 - Module 1

AFRO-LATIN AMERICAN AND POPULAR MUSIC

Zest for Progress

Zeal of Partnership

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Name of Learner: ___________________________

Grade & Section: ___________________________

Name of School: ___________________________

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Music has always been an important part in the daily life of the African, whether for work, religion, ceremonies, or even communication.

Singing, dancing, hand clapping and the beating of drums are essential to many African ceremonies, including those for birth, death, initiation, marriage, and funerals. Music and dance are also important to religious

expression and political events. However, because of its wide influences on global music that has

permeated contemporary American, Latin American, and European styles, there has been a growing interest in its own cultural heritage and musical

sources. In this module, it contains review on the different elements of music

and to analyze the characteristics of Afro-Latin American and popular music

were: African music, Latin American music, Jazz music, and Popular music. Also includes the vocal forms, instruments, vocal and dance, and

instrumental forms mentioned above.

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

1. Analyzes musical characteristics of Afro-Latin American and popular

music through listening activities. ( MU10AP-IIa-h-5)

Directions: Read and understand the questions carefully and write your

answers on the blanks provided. 1. What is the overall quality of sound of a piece, most often indicated by

the number/layer of voices in the music ?

Answer: ________________ 2. What is the volume (loudness and softness) of a sound or note?

Answer: ________________ 3. What is knownas tone color or tone quality and it is what makes a

particular musical sound have a different sound from another? Answer: ________________ 4. What is the speed (fast and slow) of the underlying beat.?

Answer: ________________ 5. Who is the “King of Pinoy Rap”?

Answer: ________________

WHAT I NEED TO KNOW

KkKNOW

WHAT I KNOW

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Directions: Identify the different musical characteristics of Afro-Latin American and Popular music. Write your answers in the

table below.

AFRO-LATIN AMERICAN AND POPULAR MUSIC

1. African Music

Vocal Forms

Vocal and Dance Forms

2. Latin American Music

Instrumental Forms

3. Jazz Music

Vocal Forms

4. Popular Music

WHAT’S IN

WHAT’S NEW

ELEMENTS OF MUSIC

TEXTURE is the overall quality of sound of a piece, most often indicated by the number/layer

of voices in the music .

TEMPO is the speed (fast and slow) of the underlying

beat.

DYNAMICS refers to the volume (loudness and softness)

of a sound or note.

TIMBRE also known as tone color or tone quality and it is what makes a particular musical sound

have a different sound from another.

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Traditional Music of Africa Apala (Akpala) is a musical genre from Nigeria in the Yoruba tribal

style to wake up the worshippers after fasting during the Muslim holy feast Ramadan.

Juju is a popular music style from Nigeria that relies on the traditional Yoruba rhythms, where the instruments in Juju are

more Western in origin.

Zouk is fast, carnival-like hythmic music, from the Creole slang word

for ‘party,’ originating in the Carribean Islands of Guadaloupe and Martinique and popularized in the 1980’s.

Blues the notes of the blues create an expressive and soulful sound.

The feelings that are evoked are normally associated with slight degrees of misfortune, lost love, frustration, or loneliness.

Soul music was a popular music genre of the 1950’s and 1960’s. It

originated in the United States. It combines elements of African-

WHAT IS IT

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American gospel music, rhythm and blues, and often jazz. The catchy rhythms are accompanied by handclaps and

extemporaneous body moves which are among its important features.

Spiritual, normally associated with a deeply religious person, refers

here to a Negro spiritual, a song form by African migrants to America who became enslaved by its white communities. This musical form became their outlet to

vent their loneliness and anger, and is a result of the interaction of music and religion from Africa with that of

America. Call and response much like the question and answer sequence in

human communication, it also forms a strong resemblance to the verse-chorus form in many vocal compositions.

Latin American Music Cumbia became a popular African courtship dance with European

and African instrumentation and characteristics. It contained varying rhythmic meters among the major locations – meter

in Colombia; , , and meters in Panama, and meter in Mexico. Instruments used are the drums of African

origin, such as the tabora (bass drum) and cleves. Tango may have been of African origin meaning “African dance” or

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

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

from the mambo and its characteristic rhythm of 2 crochets – 3 quavers – quaver rest, with syncopation on the fourth beat.

Bossa Nova means either “trend” or “something charming,” integrating melody, harmony, and rhythm into a swaying

feel, where the vocal style is often nasal.

Salsa is a social dance with marked influences from Cuba and Puerto Rico that started in New York in the mid 1970’s. Its style contains elements from the swing dance and hustle as well as

the complex Afro-Cuban and Afro-Carribean dance forms of pachanga and guaguanco.

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Rumba is a repetitive melody with an ostinato pattern played by the

maracas, claves, and other Cuban percussion instruments. It contains jazz elements that became a model for the cha cha,

mambo, and other Latin American dances.

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

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

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

the USA. It was executed as a one step, two step and syncopated rhythmic pattern. The tempo varied from 30 to 40

bars per minute and had a simple duple meter with regular 4-bar phrases.

Paso doble (meaning “double step”) is a theatrical Spanish dance

used by the Spaniards in bullfights, where the music was played as the matador enters (paseo) and passes just

before the kill (faena).

Jazz Music Ragtime is an American popular musical style mainly for piano,

originating in the Afro-American communities in St. Louis

and New Orleans. Its style was said to be a modification of the “marching mode” made popular by John Philip Sousa.

Big Band refers to a large ensemble form originating in the United States in the mid 1920’s closely associated with the Swing

Era with jazz elements.

Jelly Roll Morton who was an American ragtime and early jazz pianist and composed Frog I More Rag. Scott

Joplin, who also composed the popular Maple Leaf Rag, Solace, and The Entertainer. Joplin is also known as the “King of Ragtime.”

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Big band music originated in the United States and is associated with

jazz and the swing. Among the great big bands were the Glenn Miller Orchestra (A String of Pearls, Moonlight

Serenade, In The Mood, American Patrol, and Smoke Gets in Your Eyes); the Count Basie Orchestra (April in Paris); and

the Benny Goodman Orhcestra (Sing, Sing, Sing); while some solo signers such as Cab Calloway (Minnie the Moocher) Doris Day (Stardust, I’m in the Mood for Love);

Roy Eldridge, and others also collaborated with big bands.

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

by a fast tempo. The speed of the harmony, melody,

and rhythm resulted in a heavy performance where the instrumental sound became more tense and free.

Jazz rock is the music of 1960’s and 1970’s bands that inserted jazz

elements into rock music. A synonym for “jazz fusion,” jazz rock is a mix of funk and R&B (“rhythm and blues”) rhythms.

Popular Music Ballad originated as an expressive folksong in narrative verse with

text dealing typically about love.

Standard Its style is mostly in a slow or moderate tempo with a relaxed mood. It also features highly sing able melodies

within the range and technical capacity of the everyday listener.

Rock and roll was a hugely popular song form in the United States

during the late 1940’s to the 1950’s. It combined

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Afro-American forms such as the blues, jump blues, jazz, and gospel music with the Western swing and

country music. Disco music pertained to rock music that was more danceable, thus

leading to the establishment of venues for public dancing also called discos.

Alternative music was an underground independent form of music

that arose in the 1980’s. It became widely popular

in the 1990’s as a way to defy “mainstream” rock music. Thus, it was known for its unconventional

practices such as distorted guitar sounds, oppressive lyrics, and defiant attitudes.

Elvis Presley’s style was the precursor of the British band known as The

Beatles, whose compositions further boosted rock

and roll as the favorite genre of the times. Examples of The Beatles’ songs in this genre are I Saw Her

Standing There, Get Back, While My Guitar Gently Weeps, Rock and Roll Music, and Ticket to Ride.

Rap was also made popular by such composers and performers as Francis Magalona (Mga Kababayan Ko and Watawat) and

Andrew E (Humanap Ka ng Pangit). Francis Magalona was born on October 4, 1964 and died on March 6, 2009. He is also

known as Francis M, “Master Rapper,” and “The Man From Manila.” He was a Filipino rapper, songwriter, producer, actor, director, television host, and photographer. He is often hailed

as the “King of Pinoy Rap” and is considered a legend in the Philippine music community.

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Listening Activity

Directions: Listen to the different Afro-Latin American and Popular Music on YouTube and complete the table to its corresponding music

shown on the box.

Music Style Afro-Latin American and Popular

Music

1. Juju

2. Bosa Nova

3. Get Back (Beatles)

4. Salsa

5. Frog-I-More-Rag(Jelly Roll

Morton)

6. Call and Response

7. MgaKababayan Ko (Francis Magalona)

8. A String of Pearls(Big Band)

9. Zouk

10. Rumba

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

Popular Music.

Musical Work Musical Elements

1. Afrobeat

https://www.youtube.com/watch?v=fmeYKPlV4mk

Tempo:

__________________

2. Cha Cha

https://www.youtube.com/watch?v=lfygj9GVJ38

Dynamics:

__________________

3. The Entertainer

https://www.youtube.com/watch?v=DWX51Or-P68

Timbre:

___________________

4. Beat it

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

Texture

__________________

WHAT’S MORE

African Music Latin

American Music

Jazz Music Popular Music

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I learned__________________________________

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WHAT I HAVE LEARNED

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WHAT I CAN DO Listening Activity

Directions: Listen to the different Afro-Latin American and Popular Music through applying your knowledge in musical elements by

answering the table below. Draw a star ( ) that corresponds to your answer.

1. African Music: Apala https://www.youtube.com/watch?v=lswSQuBPaJk

2. Latin American Music: Paso Doble– https://www.youtube.com/watch?v=--cRMOqBLWs

TEMPO DYNAMICS

Slow Moderate Fast Soft Loud

3. Jazz Music: Maple Leaf Rag –https://www.youtube.com/watch?v=pMAtL7n_-rc

TEXTURE TIMBRE

Monophonic Homophonic Polyphonic Heavy or Thick Sound

Light or Thin

Sound

4. Popular Music:Billie Jean– https://www.youtube.com/watch?v=B02LXuKWGTI

TEMPO DYNAMICS

Slow Moderate Fast Soft Loud

5. Popular Music: Natutulogba ang Diyos https://www.youtube.com/watch?v=MQwoxnNUF2Y

TEXTURE TIMBRE

Monophonic Homophonic Polyphonic Heavy or Thick Sound

Light or Thin

Sound

TEMPO TIMBRE

Slow Moderate Fast Heavy or

Thick Sound

Light or Thin

Sound

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Directions: Read each statement then encircle the letter of the correct answer.

1. Which of the following is the popular music style from in Nigeria that relies on the traditional Yoruba rhythms, where the

instruments in Juju are more Western in origin? a. Kwassa kwassa b. Jit c. Jive d. Juju

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

Puerto Rico that started in New York in the mid 1970’s.

a. Son b. Salsa c. Samba d. Rhumba

3. It is a popular recreational dance of Afro-Cuban origin, performed in a complex duple meter pattern and tresillo, which is a dotted

quaver – dotted quaver – dotted semiquaver rhythm. a. . Cumbia b. Rhumba c. Tango d. Cha cha

4. Who was an American ragtime and early jazz pianist and composer

of Frog I More Rag?

a. Jelly Roll Morton b. Scott Joplin c. Glenn Miller d. Joni Mitchell

5. What is the speed (fast and slow) of the underlying beat. a. Texture b. Dynamics c. Timbre d. Tempo

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

television host, and photographer, and often hailed as the “King of

Pinoy Rap” and was considered a legend in the Philippine music community?

a. Andrew E. b. Gary V. c. Francis M. d. Sarah G.

7. Who is the singer song writer of the song entitle “Natutulog Ba Ang Diyos”?

a. Andrew E. b. Gary V. c. Francis M. d. Sarah G.

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

integrating melody, harmony, and rhythm into a swaying feel, where the vocal style is often nasal?

a. Bossa Nova b. Salsa c. Rumba d. Tango

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

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

10. What musical genre from Nigeria in the Yoruba tribal style to

wake up the worshippers after fasting during the Muslim holy feast of Ramadan?

a.Apala b. Afrobeat c. Axe d. Juju

ASSESSMENT

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ADDITIONAL ACTIVITY

Research: Identify the different musical instruments that are being used

in African Music.

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ANSWER KEY

What to Know 1. TEXTURE

2. DYNAMICS 3. TIMBRE

4. TEMPO 5. FRANCIS MAGALONA

What’s New 1. BLUES, SOUL, SPIRITUAL, CALL AND RESPONSE

2. CUMBIA, TANGO, CHA-CHA, RUMBA, BOSSA NOVA, REGGAE,

FOXTROT, PASA DOBLE 3. RAGTIME, BIG BAND, BEBOP, AND JAZZ ROCK

4. BALLAD, STANDARD, ROCK AND ROLL, ALTERNATIVE MUSIC AND DISCO

What is it 1. AFRICAN MUSIC

2. LATIN AMERICAN MUSIC

3. POPULAR MUSIC 4. LATIN AMERICAN MUSIC

5. JAZZ MUSIC 6. AFRICAN MUSIC

7. POPULAR MUSIC 8. JAZZ MUSIC

9. AFRICAN MUSIC 10. LATIN AMERICAN MUSIC

What’s More

1. MODERATE 2. LOUD

3. LIGHT OR THIN SOUND 4. POLYPHONIC

What Can I Do 1. MODERATE / LIGHT OR THIN SOUND

2. FAST / LOUD 3. POLYPHONIC / LIGHT OR THIN SOUND

4. MODERATE / LOUD

5. HOMOPHONIC / LIGHT OR THIN SOUND Post Assessment

1. D 6. C 2. B 7. B

3. B 8. A 4. A 9. C

5. D 10. A

Additional Activity 1. BALAFON 11. WHISTLE 21. TRUMPETS

2. RATTLES 12.RESONATOR BOW 3. ATINGTING KON 13. LUTE

4. AGOGO 14. KORA 5. SLITDRUM 15. ZITHER

6. DJEMBE 16.ZEZE 7. SHEKERE 17.FLUTES

8. RASP 18.HORNS

9. BODY PERCUSSION 19.KUDU HORN 10. LUNA 20.REED PIPES

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REFERENCES

Textbooks

Music and Arts Grade 10 Learner’s Material

Music and Arts Grade 10 Teacher’s Guide

Curriculum guide

K to 12 MAPEH Curriculum Guide (2016).Republic of the

Philippines, Department of Education, DepEd Complex, Meralco

Avenue, Pasig City. December 2013.

K to 12 Arts Curriculum Guide May 2016 Page 55of 102

Learning Materials uploaded at http://lrmds.deped.gov.ph/

Websites

youtube.com

selmsrecords@gmail.com

09/11/2020

https://www.youtube.com/watch?v=fmeYKPlV4mk

Pampatulog Love Songs Collection 2017: https://goo.gl/zyXuFE

09/11/2020

https://www.youtube.com/watch?v=lfygj9GVJ38

Martin Spitznagel – Classic March 28th, 2009. 09/11/2020 https://www.youtube.com/watch?v=DWX51Or-P68 Jez Morcilla

09909/11/2020

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

planetolusola Compiled by: John Storm Roberts (2/24/1936 - 11/29/2009) 09/11/2020 https://www.youtube.com/watch?v=lswSQuBPaJk Paso Doble music: J.P. Strater – Paso Doble https://goo.gl/1xPDhp 09/11/2020 https://www.youtube.com/watch?v=--cRMOqBLWs TJaep 09/11/2020 https://www.youtube.com/watch?v=pMAtL7n_-rc Wish 10975 09/11/2020 https://www.youtube.com/watch?v=MQwoxnNUF2Y

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Region IX: Zamboanga Peninsula Hymn – Our Eden Land Here the trees and flowers bloom

Here the breezes gently Blow, Here the birds sing Merrily, The liberty forever Stays,

Here the Badjaos roam the seas Here the Samals live in peace

Here the Tausogs thrive so free With the Yakans in unity

Gallant men And Ladies fair

Linger with love and care Golden beams of sunrise and sunset Are visions you’ll never forget

Oh! That’s Region IX

Hardworking people Abound, Every valleys and Dale

Zamboangueños, Tagalogs, Bicolanos,

Cebuanos, Ilocanos, Subanons, Boholanos, Ilongos,

All of them are proud and true Region IX our Eden Land

Region IX

Our.. Eden... Land...

My Final Farewell Farewell, dear Fatherland, clime of the sun caress'd

Pearl of the Orient seas, our Eden lost!, Gladly now I go to give thee this faded life's best, And were it brighter, fresher, or more blest Still would I give it thee, nor count the cost. On the field of battle, 'mid the frenzy of fight, Others have given their lives, without doubt or heed; The place matters not-cypress or laurel or lily white, Scaffold or open plain, combat or martyrdom's plight, T is ever the same, to serve our home and country's need. I die just when I see the dawn break,

Through the gloom of night, to herald the day; And if color is lacking my blood thou shalt take, Pour'd out at need for thy dear sake To dye with its crimson the waking ray.

My dreams, when life first opened to me, My dreams, when the hopes of youth beat high, Were to see thy lov'd face, O gem of the Orient sea From gloom and grief, from care and sorrow free; No blush on thy brow, no tear in thine eye. Dream of my life, my living and burning desire,

All hail ! cries the soul that is now to take flight; All hail ! And sweet it is for thee to expire ; To die for thy sake, that thou mayst aspire; And sleep in thy bosom eternity's long night. If over my grave some day thou seest grow, In the grassy sod, a humble flower, Draw it to thy lips and kiss my soul so, While I may feel on my brow in the cold tomb below The touch of thy tenderness, thy breath's warm power. Let the moon beam over me soft and serene, Let the dawn shed over me its radiant flashes, Let the wind with sad lament over me keen ;

And if on my cross a bird should be seen, Let it trill there its hymn of peace to my ashes.

Let the sun draw the vapors up to the sky,

And heavenward in purity bear my tardy protest Let some kind soul o 'er my untimely fate sigh, And in the still evening a prayer be lifted on high From thee, 0 my country, that in God I may rest. Pray for all those that hapless have died, For all who have suffered the unmeasur'd pain; For our mothers that bitterly their woes have cried, For widows and orphans, for captives by torture tried And then for thyself that redemption thou mayst gain And when the dark night wraps the graveyard around

With only the dead in their vigil to see Break not my repose or the mystery profound And perchance thou mayst hear a sad hymn resound 'T is I, O my country, raising a song unto thee.

And even my grave is remembered no more Unmark'd by never a cross nor a stone Let the plow sweep through it, the spade turn it o'er That my ashes may carpet earthly f loor, Before into nothingness at last they are blown. Then will oblivion bring to me no care

As over thy vales and plains I sweep; Throbbing and cleansed in thy space and air With color and light, with song and lament I fare, Ever repeating the faith that I keep. My Fatherland ador'd, that sadness to my sorrow lends Beloved Filipinas, hear now my last good -by! I give thee all: parents and kindred and fr iends For I go where no slave before the oppressor bends, Where faith can never kil l, and God reigns e'er on high! Farewell to you all, from my soul torn away, Friends of my childhood in the home dispossessed! Give thanks that I rest from the wearisome day!

Farewell to thee, too, sweet friend that l ightened my way; Beloved creatures all, farewell! In death there is rest!

I Am a Filipino, by Carlos P. Romulo I am a Filipino–inheritor of a glorious past, hostage to the uncertain future. As such I must prove equal to a two-fold task–the task of meeting my responsibility to the past, and the task of performing my obligation to the future.

I sprung from a hardy race, child many generations removed of ancient Malayan pioneers. Across the centuries the memory comes rushing back to me: of brown-skinned men putting out to sea in ships that were as frail as their hearts were stout. Over the sea I see them come, borne upon the billowing wave and the whistling wind, carried upon the mighty swell of hope–hope in the free abundance of new land that was to be their home and their children’s forever.

I am a Filipino. In my blood runs the immortal seed of heroes–seed that flowered down the centuries in deeds of courage and defiance. In my veins yet pulses the same hot blood that sent Lapulapu to battle against the first invader of this land, that nerved Lakandula in the combat against the alien foe, that drove Diego Silang and

Dagohoy into rebellion against the foreign oppressor.

The seed I bear within me is an immortal seed. It is the mark of my manhood, the symbol of dignity as a human being. Like the seeds that were once buried in the tomb of Tutankhamen many thousand years ago, it shall grow and flower and bear fruit again. It is the insignia of my race, and my generation is but a stage in the unending search of my people for freedom and happiness.

I am a Filipino, child of the marriage of the East and the West. The East, with its languor and mysticism, its passivity and endurance, was my mother, and my sire was the West that came thundering across the seas with the Cross and Sword and the Machine. I am of the East, an eager participant in its spirit, and in its struggles for

liberation from the imperialist yoke. But I also know that the East must awake from its centuried sleep, shake off the lethargy that has bound his limbs, and start moving where destiny awaits.

I am a Filipino, and this is my inheritance. What pledge shall I give that I may prove worthy of my inheritance? I shall give the pledge that has come ringing down the corridors of the centuries, and it shall be compounded of the joyous cries of my Malayan forebears when first they saw the contours of this land loom before their eyes, of the battle cries that have resounded in every field of combat from Mactan to Tirad Pass, of the voices of my people when they sing:

“I am a Filipino born to freedom, and I shall not rest until freedom

shall have been added unto my inheritance—for myself and my children and my children’s children—forever.”