Special Program in the Arts

Curriculum Guide

MUSIC
GRADE 10

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 CONCEPTUAL FRAMEWORK

Music occupies a very important role in Philippine society. Its function is well entrenched in the various occasions and festivals and in the day
to day activities of households. Music is used as a means to express and convey messages to members of the community. In the Philippine context,
there is no direct translation for the word music but there is a multitude of words relating to music which describe song forms, musical instruments,
and processes. This just means that music is more than just an abstraction as it is found in the everyday experiences of the people.
The SPA music curriculum focuses on four threads which at the end of the program will equip the learner as an engaged artist in the field of
music: 1. music as borne of the expression of the self as seen in the Filipino tales, epics, rituals, and festivals; 2. music as a community resource
rooted in the natural, tangible, and intangible heritage of the people; 3. music as an continuing expression of the people’s history and; 4. music as a
contextualized reality from the local to global perspectives in the contemporary times.
Along with four threads, the curriculum will develop the learner‘s knowledge, appreciation, and skills in music using the seven building blocks
of music distributed across the curriculum (Philosophy of Music; Overview of Music; Music Elements and Concepts; Music Processes and Skills;
Musical Instruments; Music Genre and Styles; People of Music). The SPA program is a spiraling program, grounded on performance-based learning.
At the end of the program the learners will have gained the basic and intermediate skills in music which will prepare them for a career and/or higher
education in music and other art disciplines.
The philosophical foundations upon which standards and competencies are based on are aligned with the regular K-12 program for music
and the arts. These include among others, the following sources: A Process of Education by Jerome Bruner, Performance-Based Learning by
Cleve Miller, Aesthetic Education by Bennett Reimer, Praxial Music Education by David Elliott, 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, Dictionary of Filipino Musical Terms produced by the UP Center for Ethnomusicology, Content
Standards from the National Standards for Arts Education by Music Educators National Conference (MENC), Integrating Music Throughout the

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Curriculum by Claudia Cornett, 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, and Malikhaing Guro by ARTISTS, Inc.

SPA MUSIC CURRICULUM

PHILOSOPHY AND RATIONALE FOR MUSIC EDUCATION

Source: K-10 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

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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 thoughts about
contemporary general education. 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 instills, within every individual Filipino learner, pride in his/her own cultural
identity.

SPA CURRICULUM MUSIC

GRADE 10

Course Description
This is a course in SPA- Music Specialization that aims the learner to demonstrates an understanding of the basic concepts and
principles of MUSIC interacting with other disciplines relevant to the creation of major works reflecting Contemporary Realities for the
PROFICIENCY in artistic creativity, leading to a sense of self, cultural identity, and social responsibility
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MUSIC GRADE 10 : FIRST QUARTER
ST
1 QUARTER: LOCALIZATION (NATIONAL AND ASIAN), Composition I-A
CONTENT CONTENT PERFORMANCE LEARNING POSSIBLE
STANDARDS STANDARDS COMPETENCIE ACTIVITIES
S

A. The Philippines from

Independence to Present The learner… The learner… The learner… The learner…
Times: Modern &
Contemporary Music)
 1946-60’s:
Influence of 1.Demonstrates  Performs the genres  Identifies SPA_M
Modern and British understanding of of music (vocal the genres and 110-Ia-1
Music; Philippine music /instrumental) from proponents of
Pilita Corrales development from Philippine music from
Diomedes Maturan Philippine Independence to Philippine
Ric Manrique Independence to present times. Independence
Mabuhay Singers,
Levi Celrio, Lucio Present times. to the present
San Pedro, Felipe
deLeon Sr.,
 70’s-80’s: Rise of
Filipino

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 Nationalism;
Protest Songs,
Manila Sound,
OPM , Filipino
Novelty,Edsa
revolution
 90’s to Present:
Filipino Rap,
Filipino Pop,
Korean Invasion,
Broadway (Miss
Saigon, etc) 

2.Issues Intellectual  demonstrates

Property Rights, understanding of
issues related to  conducts interviews 2.Outlines the  compos es SPA_MI
3.Performers Rights the music to local artists about the different issues or arranges 10-Ia-2
profession  affecting the for particular
different issues in the
 Institutions: instruments
music profession.  music
CCP, NCCA,  and/or voices
profession.
NCIP, NAMCYA,  for given
OPM, Filscap,   3.Advocates themes/func
 SPA_M
 intellectual tions BC10-
 property rights.
 Ia-j-3
 discuss
 Composes music  es the
reasons
behind the
issues
B.Basic  demonstrates besetting
SPA_M

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 Composition an understanding 4.Employs the music AE10-
(Conceptualization, of basic creativity in profession Ia-j-4
Representation of compositional composition and how
Sound: Standard or concepts and and these can
Graphic Notation, techniques arrangements. be
Instrumentation  Arranges music 
 addressed
  makes

1.Arranging  a database
SPA_M
 Performs basic skills for 5.familiarizes of
 demonstrates voice and instrument- with various organization MT10-
familiarity with playing.  performance s that Ia-c-5
music software  having diverse advocate
for notation,  musical styles.
music and
recording,  Notates, transcribes,
C. Music performer’s
sequencing  records, or sequences
Technology  6. applies music rights for
SPA_M
Software  music.  technology future
  reference 
AE10-
 software in 
 demonstrates  rehear 
Ia-j-6
 performs music notating,
an ses music
through solo and with sequencing and
understanding
D. Application of the of basic music accompaniment  recording. showing
Elements of Music  knowledge
reading, basic
through  of the
vocal
composition and  Performs musical
techniques, 6. Shows
the chosen instrument diverse musical skills  elements
mastery of
specialization: playing musical and styles
voice and techniques, and elements  sings
instrument-playing. sight reading or plays
through varied
skills 
Instrument- musical instruments

7
Playing/Singing performance. with
(Continuation) technique
Finger appropriate
positions/Posture to the
Tone Production & performanc
Resonance e practice of
Embouchure the piece.
(winds);
bowing/plucking
(strings);
Articulation
Basic Sight
Reading
Repertoire Study
Choral Styles
Interpretation of
composed works

MUSIC GRADE 10 : SECOND QUARTER

nd
2 Quarter: LOCALIZATION (NATIONAL AND ASIAN), Composition I-B
CONTENT CONTENT PERFORMANCE LEARNING POSSIBLE
STANDARDS STANDARDS COMPETENCIES ACTIVITIES

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 The learner… The learner… The learner… The learner…

A. The Philippines in  Demonstra  Presents a simulated 1.distinguishes SPA_M

the Context of ASEAN; tes performance of ASEAN Philippine music 110-IIa-
e.g. Indonesia- understanding music. from ASEAN 1
Gamelan/Anklung; folk of Philippine music .
songs , integrated arts in
music in the
the ASEAN context
(dance-drama; shadow ASEAN
puppet, music theater) context. .

1.Tradition &
Change: ASEAN
MUSIC

2.ASEAN Integration,
Cultural Ethics

B .Issues; Tradition and

Change; ASEAN
Integration

C. Simulated  create basic music

Performance of ASEAN 
compositions or  compo ses
Music
arrangements  or arranges
for particular
instruments

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 and/or voices
2.develops for given
D. Continuation of creativity in SPA_MI
themes/functi
Basic Composition conceptualizing 10-IIa-2
(Conceptualization,  demonstrates  demonstrates basic basic music
ons
Representation of an musical skills in voice compositions or
Sound: Standard or understanding and/or instrument-playing  arrangements
Graphic Notation, of basic
Instrumentation compositional
concepts and
techniques   notates ,
 3.displays
 familiarity in transcribes,
SPA_M
1.Arranging  demonstrates various sequences,
an records music BC10-
performance
understanding practice of using II-a-j-3
of basic music diverse musical appropriate
reading, basic styles music
vocal
technology
techniques,
instrument  uses technology to tools 
playing notate, transcribe, 
techniques,  discuss
record or
and sight es the
sequence music 
reading skills  reasons
 behind the
 SPA_M
 issues
 4.displays AE10II-
C.Music  knowledge in besetting the
a-j-4
Technology  using music music
Software  demonstrates technology profession
familiarity with  software and how 

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 music these can be
software for addressed
notation,  performs music with
recording, and fundamental musicianship  intervie 
sequencing (performs alone and with ws or
others in pitch, rhythm, 5. displays
corresponds
D. .Application of the expression, and style )  mastery of the
with music
Elements of Music  basic musical
through composition  applies appropriate organizations
elements
and the chosen technical skills in regarding SPA_M
through musical
specialization: voice performing diverse issues in MT10-
performances.
and instrument-playing. musical styles  music  IIa-c-5

Instrument-  rehear
Playing/Singing ses music
(Continuation) showing
Finger
knowledge of
positions/Posture
the musical
Tone Production &
Resonance elements and
Embouchure styles 
(winds); 
 sings
bowing/plucking
(strings); or plays
Articulation instruments
Basic Sight with
Reading technique
Repertoire Study appropriate
Choral Styles to the
Interpretation of performance 
composed works

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 practice of
the piece.

MUSIC GRADE 10 : THIRD QUARTER THIRD GRADING PERIOD

rd
3 Quarter: GLOBALIZATION, MASS MEDIA AND MUSIC TECHNOLOGY, Composition I-C
CONTENT PERFORMANCE LEARNING POSSIBLE
STANDARDS STANDARDS COMPETENCIES ACTIVITIES
CONTENT

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 The learner… The learner… The learner… The learner…

 demonstrates  performs a musical 1.distinguishes  compo

A. Philippines and an genre for each each musical ses or
Globalization (e.g. understanding SPA_M
region of the world.  genre . arrang
Middle East, South of 110-
 es for
Pacific, East Asian, globalization  particul IIIa-1
African, Latin in music. 
American, ar
 conducts  analyzes
Fusion/Cross-over instrum
researches about the reasons
Music) ents
music organizations behind the
and/or
 Issues in Music: that deal with issues in the
voices
1.Tradition & Change,  demonstrates issues and music musical
for
2.Commercialization, understanding advocacy  profession
3.Globalization of issues given
4. Diaspora, related to the themes
5.Work Exploitation & music 2.displays /functio
Labor Laws, profession awareness in ns 
6.Cultural Ethics music advocacy 
7. Intellectual Property and issues 

Rights, 

 SPA_MI

B .Music in Media:  10-IIIa-2
Radio, TV, Film, 
Internet, Print   notates 
 create basic music
 ,
 Institutions: compositions or
 transcribes, 
IMusicCouncil, arrangements  sequences,
IPhilippine Society for
Music Education, records 

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 PASAMBAP,PHILBAND  demonstrates basic music using
A,Council for Trad musical skills in appropriate
Music, IFederation of voice and/or music
Choral Music, ISociety instrument-playing  technology
of Contem Music, Asian  tools
Composers League, 
3.develops  discuss
PCDA, UNESCO  uses technology to
creativity in es the
notate, transcribe,
conceptualizing reasons
record or
C. Continuation of Basic  demonstrates basic music behind the
Composition an sequence music  compositions or
 issues
(Conceptualization, understanding arrangements SPA_M
Representation of Sound:  performs music besetting
of basic music BC10-
Standard or Graphic with fundamental the music
reading, basic
Notation, Instrumentation musicianship (performs profession III-a-j-3
vocal
 Arranging techniques, alone and with others and how
D. Music instrument in pitch, rhythm, 4.displays these can
Technology playing expression, and style )  familiarity in be
Software 

 addressed 
techniques, various
  applies performance
and sight
appropriate technical  interviews or
E. Application of the reading skills  practice of
corresponds
Elements of Music  skills in performing diverse musical SPA_M
through composition  diverse musical styles  styles with music
AE10III-
and the chosen  organization
a-j-4
specialization: voice  demonstrates s regarding
and instrument- an issues in
playing.  understanding music 
of basic 
Instrument- compositional  rehear 
Playing/Singing concepts and 5.displays
knowledge in ses music
(Continuation) techniques 
using music showing
Finger

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 positions/Posture technology knowledge SPA_M
Tone Production &  demonstrates software of the MT10-
Resonance familiarity with musical IIIa-c-5
Embouchure music 6. displays
mastery of the elements
(winds); software for
basic musical and styles
bowing/plucking notation,
elements  sings SPA_M
(strings); recording, and
through musical or plays AE10-
Articulation sequencing
performances. instruments IIIa-j-6
Basic Sight
Reading with
Repertoire Study technique
Choral Styles appropriate
Interpretation of to the
composed works performanc
e practice of
the piece.

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MUSIC GRADE 10 : FOURTH QUARTER FOURTH GRADING PERIOD

4th Q:Careers in Music, Contemporary Perspective , Performance/Collaboration

CONTENT CONTENT PERFORMANCE LEARNING POSSIBLE
STANDARDS STANDARDS COMPETENCIES ACTIVITIES

A .CAREERS IN The learner… The learner… The learner… The learner…

MUSIC
1.Composers /  demonstrate  demonstrate creativity 1.identifies the compo SPA_M
Arrangers an in conceptualizing and various music ses or C10-
2.Conductors understanding making music professions, arranges for IVa-b-1
3.Music Educators / of the nature of compositions or their training and particular
Mentor the work of arrangements
4.Musicologist / various music nature of work instruments
Researcher careers  demonstrates basic and/or voices
5. Music Producer / musical skills in voice for given
Manager and/or instrument- themes/functi
6.Music Technologist playing 2.evaluates ons
/ Sound Engineer one’s aptitude,
7.Music Therapist interest and  prepares a

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 8.Performers abilities in music
(Singers, relation to the portfolio of
Instrumentalists) various music music
 demonstrates an professions performance
B.PROGRAM understanding of
s using
PLANNING program  employs acceptable
appropriate SPA_M
1.Basics of planning, rehearsal methods 3.displays
Planning a Music rehearsal applicable to good familiarity in music C10-
Performance preparation, and program planning  various technology IVa-2
2.Rehearsal staging using the  performance tools
Preparation integrated arts  practice of
3.Staging the approach   makes diverse  discusses the
Performance  compositions and musical styles types of work
 demonstrates arrangements for and training
an various musical for certain
understanding forms and functions  careers in
of basic music 
reading, basic   music  SPA_M
vocal   interviews or  AE10-
techniques,  performs music corresponds
IVa-j-3
instrument with fundamental with various
playing musicianship music
techniques, (performs alone professionals
and sight and with others 6. displays mastery regarding the
C. Application of the reading skills  in pitch, rhythm,
 of the basic musical training and
Elements of Music expression, and
 elements through nature of
through the chosen  style ) 
 musical their music
specialization: voice
 performances. profession
and instrument-playing. 
  rehearses
Instrument-
 demonstrates  music 
Playing/Singing

17
 (Continuation) an showing
 Finger understanding  uses technology to knowledge of
positions/Posture  of basic document music the musical
 Tone Production compositional
performances  elements and
& Resonance  concepts and
 styles
 Embouchure (winds); techniques  applies aspects of SPA_M
bowing/plucking the integrated arts  sings or plays AE10-
(strings);   demonstrates
approach in the instruments IVa-j-6
 Articulation  staging music 
an with
 Basic Sight Reading  performances
understanding *the performance standards technique
 Repertoire Study  of the staging for the fourth quarter will be appropriate
 Choral Styles  process showcased in collaboration to the
utilizing with all the other SPA art
elements of performance
fields
production practice of
values like the piece. 
music, design, 
and movement   plans for
a music
program 

 conducts
various
rehearsals
and run-
throughs 

 performs in
front of an
audience 

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  evaluates the
production
process in
class

 writes a
journal of
experiences
of the entire
Grade 10
experience

GRADE 10: CONTERMPORARY REALITIES

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY

3-4 MUSIC in INSTRUMENTAL MUSIC in INSTRUMENTAL MUSIC in Contemporary

PM Contemporary times ENSEMBLE/VOICE/CHOI Contemporary times ENSEMBLE/VOICE/C times
4-5 SOLO INSTR/CREATIVE R SOLO HOIR/ SOLO INSTR/CREATIVE
PM MUSIC WRITING INSTR/CREATIVE MUSIC WRITING
MUSIC WRITING
ND
1ST AND 2 Q: Issues in Music, LOCALIZATION (NATIONAL AND ASIAN) Composition I-

A/B; 3rd: GLOBALIZATION and MASS MEDIA AND MUSIC (TECHNOLOGY) Composition I-C;
Q: 4th Q: Careers in Music, Contemporary Perspective ; Performance/Collaboration of the Different Art Fields

Solo Performance/Collaboration: instrument/voice/choir---a) SOLO: BAMBOO FLUTE, GUITAR, PIANO, VOICE; b) INSTRUMENTAL
ENSEMBLE: INDIGENOUS MUSIC ENSEMBLE (SLT PARTNERSHIP), Rondalla, Recorder, Chamber/Mixed; c) CHOIR: SSA/SATB OR

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DIVISI
MATERIALS:
Intro to Contemporary Times: Tunugan: Four Essays on Philippine Music by Ramon Santos, Laon-Laon by Ramon Santos, Garland
Encyclopedia of Southeast Asian Music, The Music and Technology Reference Book, Mass Media and Music, The Art of Noise, The Devil
Running with the Music, Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory Musicianship by Theodor Lynn

Choir: NAMCYA Choral Series, Sundry (reprint), Koro Leyteno, Mga Awiting Bayan ed. by Andrea Veneracion, The Choral Works by Lucio
San Pedro, Awiting Bayan II by NCCA
Solo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Anthology of Italian Arias,
Voice Methods of Concone, Marchesi, MacClosky, Van Christy
Indigenous Music: Palabunibunyan by Aga Mayo Butocan, Select Transcriptions of Philippine Folk Songs by Lilia Tolentino (unpublished
thesis), Gongs and Bamboo by Jose Maceda, Dictionary of Philippine Musical Terms (UPCE), Philippine Traditional Music by Kristina
nd
Benitez Guitar: Carcassi, Sor, Hal Leonard Guitar Method Books 1 – 3, 2 edition (2002), Mel Bay, Hohmann-Wohlfarth
Winds/Perc.: Rubank, Burakoff, Teaching Music Through Performance in Band
Piano: Czerny 636, Bach Two-Part Inventions, Haydn Sonatinas/Sonata, Bartok for Children, Seleksiyon and Likha Tugtugin by
Augusto Espino, Score Series by Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series
Piano: Czerny Op. 599, Bach Notebook of Anna Magdalena Bach, Seleksiyon and Likha Tugtugin by Augusto Espino, Score Series by
Abejo, Likha-Tugtog-Likha by Christine Muyco, NAMCYA Piano Series, Alfred Piano Series, Hal Leonard Piano Series, Piano Adventures,
The Contemporary Piano Method, Celebration Series
Strings: NAMCYA Violin Series, Suzuki Method Book II, Mel Bay Modern Violin, Hal Leonard Essential Elements for Strings, Alfred
String Builder, Kjosk Essential for Strings, Habits of a Successful String Musician: Full Score
Rondalla: Celso Espejo Rondalla Methods, Elaine Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Pasamba, Laro-Rondalya by
Polvoriza, Muyco, Trangco, and Perez
Choir: NAMCYA Choral Series, Sundry Choral Series (reprint), Koro Leyteno, Philippine Folk Songs by Reysio Cruz, Hallel by Augusto
Espino, Teaching Choral Music (Dawn Collins), Handbook for Beginning Choral Educators (Walter Lamble), Singing at First Sight Series
(Andy Beck), Teaching Music Through Performance in Middle School Choir, Collaboration in the Ensemble Arts
Computer Software: Finale/Sibelius, Audacity, MusScore, Reason, GarageBand, Audition

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

www.upethnom.com

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Prepared by: Jocelyn T. Guadalupe,
Christine M. Muyco,
Jose S. Soliman, Jr.,
Leticia G. Del Valle,
Arvin Manuel R. Villalon

As of June 25, 2014

College of Music, UP Diliman