Special Program in the Arts

Curriculum Guide

MUSIC
GRADE 8

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 SPA MUSIC CURRICULUM
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 MUSIC CURRICULUM

GRADE 8
Course Description:
This is a course in SPA- Music specialization that aims the learner to demonstrates an understanding of the basic concepts, principles,
and skills of MUSIC relevant to creating seminal works on Community Realities and Life Sources for the AWARENESS and EXPLORATION
of creativity, sense of self and cultural identity, and social responsibility

MUSIC GRADE 8 : FIRST QUARTER FIRST GRADING PERIOD

Community/Folk life and music, Introduction to Music II-A

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 CONTENT CONTENT PERFORMANCE LEARNING POSSIBLE
STANDARDS STANDARDS COMPETENCIES ACTIVITIES

A. INTRODUCTION TO THE
NATURAL AND CULTURAL The learner… The learner… The learner… The
HERITAGE OF A  demonstrates  Creates a 1.describes learner…
COMMUNITY:  draws and
an cultural map the
1. Cultural Heritage understanding depicting the dimensions explains SPA_MC
of cultural community of society the various H8-Ib-1
heritage heritage and applies dimension
(tangible and them on an s of society
intangible). analysis of and its
his reflections
2.The Different
Dimensions of Society: community in his /her
 demonstrates community
Ecology, Governance,
Cultural, Social, Human, an
understanding
Economic, and Spiritual of the different  conducts
dimensions or survey of the
modalities of music
society as resources of
applied in a the
community  assesses the community
3. Assessing the Music
and their music
Resources of a
various resources of
Community relationships the
community
4.Basic Social Mapping

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 2.illustrates SPA_MC
social maps H8-Ib-2
B. INTRODUCTION TO MUSIC with clarity,
1.Elements of Music : analysis,
and interest
 Rhythm (Simple &
Compound Meter,  demonstrates
Syncopated )  an
understanding  Performs
 Melody (Key 
Signatures, Scale of basic social sight-
 draws
Degree names mapping reading,
methods  social
Types and singing and maps 

Qualities of  playing  
Intervals),  
 demonstrates 
 Harmony (Chord  
an
Functions, Tonic,  evaluates 
understanding 3. evaluates 
Dominant, Chord music
of basic music
Progressions),  applying the music 
reading, basic SPA_MI
 Tempo vocal basic musical applying the  reads and
basic M8-Ij-3
(Grave, Lento, techniques, elements and analyzes
Prestissimo, instrument skills  musical music 
 elements 
Ritardando, playing
 and skills 
Accelerando, techniques,
 performs  rehearses
 Rubato),  and sight
reading skills  music through pieces 
 Dynamics(crescen solo and with 
do, decrescendo, accompaniment  4.explains  SPA_MI
diminuendo),  how specific  applies M8-Ia-
 Timbre elements of technique  d-4
(Hornboestel-  music are

6
 Sachs applied in in singing
Classification, particular or playing
Voice –SATB, pieces instrument
Solo, Duet, s
Trio,Quartet ),
 Form (Canon,
Fugue, Sonata
Allegro, Concerto, 
Symphony)
2. Importance
of Music
 as an
expression
 of life; 
 as a tool for
communicat
ion; 
 as an 
expression
of personal
and cultural
identity;
 as an
expression
of history; 
 as a
repository
 of values; 
 as a
means for 

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 promoting
personal
and social
growth 3.
Application of the
Elements of Music
through the chosen
specialization:
voice and
instrument-playing.
 Instrument-
Playing/Singing
(Continuation
from Grade 7) 
 Finger
positions/Posture 
 Tone Production
& Resonance 
 Embouchure (winds);
bowing/plucking
 (strings); 
 Articulation 
 Sight Singing 
 Basic Sight Reading 
 Repertoire Study 

*NOTE
Teachers are free to
choose what elements
of music he/she thinks is

8
 necessary to apply in the
course.

MUSIC GRADE 8 : SECOND QUARTER

2nd Q: Ecology and natural resources, Introduction to Music II-B;

CONTENT CONTENT PERFORMANCE LEARNING POSSIBLE
STANDARDS STANDARDS COMPETENCIES ACTIVITIES

A. OUR LIFE SOURCES The learner… The learner… The learner… The
1.Ecological Mapping: learner…
Creative Presentation of Local  demonstrates  Map an 1. identifies SPA_ML
Natural Resources (marine, an inventory of the different resear S8-IIa-b-
terrestrial, aerial ecosystems understanding the natural natural ches on 1
of a community) of the natural resources of resources of ecosystems

9
 resources of the the and their
his/her community , community significance
community and ecosystems and their
its different and give significance.
ecosystems their
significance.

 illustrates SPA_ML
the varied 2.creates
ecological  draws S8-IIa-b-
ecosystems
in his/her maps of the or creates 2
community natural visual
through an resources collages or
ecological of his/her community
map or community maps
visual illustrating
2.Earth Music Fusion collage  various
eco-
systems 
3.creates  SPA_ML
soundscapes  explores S8-IIa-b-
of human and various
ecological 3
soundsca
situations pes 
based on
these maps

B. INTRODUCTION TO  demonstrates  create a

MUSIC (Continuation) understanding fusion of
1. Elements of of the earth music
relationship of  through 

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Music : music elements improvisatio
 Rhythm to the earth n
(Simple &
Compound  performs
Meter, music with an
 Syncopated  ecological
 ) content 
 Melody  

(Key
 creates
Signatures,
simple
Scale
Degree accompanim
names ents to local
Types and music 
Qualities of 
Intervals), 

 Harmony  SPA_MI
Chord  M8-IIa-d-
Functions,  demonstrates  demonstrate 4
Tonic, the basic 4. identifies  applies
s skills in
Dominant, aural skills  music
the elements technique in
Chord  of music singing or
 reading and
playing
Progression  ensemble
s),   playing and instruments

 Tempo   singing 
   writes
(Grave,
Lento,  demonstrates  an
understanding  stages experience
Prestissimo,
musical paper on
Ritardando, of the various
performance the quarter
Accelerand methods and 
with an  activities

11
 o, Rubato), techniques of ecological
  Dynamics(c  singing and content
rescendo, instrument-  studies
decrescend playing  performs new pieces
o, music applying
 diminuendo)   demonstrates through solo music
, understanding and with theory and

 Timbre of melody, accompani sight
harmony, ment reading
(Hornboeste
balance, and skills
l-Sachs blending
Classificatio through  rehear
n, Voice – ensemble ses small
SATB, Solo, playing and group
Duet, group singing ensembles
Trio,Quartet ), 

 Form
(Canon,
Fugue,
Sonata
Allegro,
Concerto,
 Symphony) 
2. Application of
the Elements of
Music through
the chosen
specialization:
voice and
instrument-

12
 playing.
3. Instrument-
Playing/Singing
(Continuation
from Grade 7)
 Finger
positions/Posture 
 Tone Production
& Resonance 
 Embouchure
(winds);
bowing/plucking
(strings); 
  Articulation 
  Sight Singing 
 Basic Sight
Reading 
  Repertoire Study 
 Choral Harmony,
Balance &
Blending 
4.Rehearsals and
Performance of Pieces
with Ecological Content

MUSIC GRADE 8 : THIRD QUARTER

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3rd Q: Basic research, mapping of tangible and intangible musical cultures, Introduction
to Music II-C;
CONTENT CONTENT PERFORMANCE LEARNING POSSIBLE
STANDARDS STANDARDS COMPETENCIES ACTIVITIES

A. OUR CULTURAL The learner… The learner… The learner… The

HERITAGE learner…
 CULTURAL MAPPING of
Cultural Resources: Tangible
 demonstrates  Map an 1. SPA_MC
and Intangible Using Creative an inventory of Identifies and  resear H8-IIIa-b-
Integrated Arts Approaches understanding the tangible Classifies the ches on 1
of the cultural and tangible and his/her
resources of intangible communit
his/her cultural intangible y‘s
community, its resources cultural cultural
different types, from their resources in heritage
and community his/her resources
significance and community and and
establish its its significance. establishe
significance. s their
. significan

2.creates ce SPA_MC
 illustrates maps of the  draws H8-IIIa-2
the heritage cultural or creates
resources of
 demonstrates icons in visual
an his/her communities collages or

14
 understanding community community
of local through a 3.creates maps
heritage icons cultural map scenes of illustrating SPA_MC
and their or visual human and various H8-IIIa-3
conditions collage socio-cultural tangible
situations and
based on intangible
these maps cultural
resources

4. identifies
SPA_MC
the music  explor
B. INTRODUCTION TO features of a es various H8-IIIa-4
MUSIC (Continuation) short heritage music
piece techniques
1. Elements of Music : to portray
heritage
 Rhythm (Simple & icons and
Compound Meter, human
Syncopated , Ostinato, situations
Drone),
 Melody (Key
 perfor
Signatures, Scale
ms music
Degree names Types with a
and Qualities of heritage
Intervals, Modes),
content
 Harmony (Chord
Functions, Tonic,
Dominant, Chord
Progressions, Drone &
Melody),

15
  Tempo (Grave,
Lento, Prestissimo,
Ritardando,  demonstrates  performs
Accelerando, Rubato),  an basic musical  writes 
 Dynamics(crescen  understanding skills in voice an
do, decrescendo, of basic and/or experience
elements of instrument- paper on
diminuendo),
performance playing  the quarter
 Timbre 
and music activities 
(Hornboestel-Sachs, 
interpretation   
Bel Canto, Indigenous   rehear
Vocal Styles),   demonstrates 
ses small
 Form ( Sonata  an  performs
group
Allegro, Concerto, understanding music
ensembles 
Symphony, Theme & of features pieces with
Variations, Cyclic form, related to cultural
Indigenous Forms) dynamics, tone heritage
2.Application of the gradation, content 
Elements of Music articulation, 

through the chosen and tempo  
specialization: voice  
 demonstrates
and instrument-playing.  performs
understanding
music
Instrument- of elements of
through solo
Playing/Singing music as
and with
(Continuation) applied to
accompani
 Finger indigenous
ment 
positions/Posture  forms  

 Tone Production  
& Resonance    stages 
 Embouchure   demonstrates  music 

16
 (winds); an performance
bowing/plucking understanding with a cultural
(strings); of cultural heritage
  Articulation  research content
  Sight Singing 
 Basic Sight
 demonstrates
Reading 
understanding
  Repertoire Study  of the
 Choral Harmony, performance of
Balance &  music pieces
Blending with cultural
3.TECHNIQUE CLASS (Voice heritage
and Instrument): Performance content drawn
of Local Music Pieces from local
(Community Resources) community
resources 
4.CULTURAL RESEARCH
Field Research Approaches
Creating Cultural Heritage
Maps and Selecting Icons for
Music Performance

 PERFORMANCE of Pieces
with CULTURAL
HERITAGE content 

*NOTE
Teachers are free to
choose what elements
of music he/she thinks is

17
 necessary to apply in the
course.

MUSIC GRADE 8 : FOURTH QUARTER

4th Quarter: Performance: instrument/voice/choir, Collaboration of the Different Art
Fields;
CONTENT CONTENT PERFORMANCE LEARNING POSSIBLE
STANDARDS COMPETENCIES ACTIVITIES
STANDARDS

A. MUSIC PERFORMANCE The learner… The learner… The learner… The

ON LIFE SOURCES AND learner…
CULTURAL HERITAGE
1.INTRO TO MUSIC:
ANALYSIS. The  demonstrates  perform 1.applies the SPA_MM
identification of features an fundamental appropriate P8-IVa-1
played in a short heritage understanding processes in musical
piece. The features would of program music with elements
relate to the ELEMENTS OF planning, creativity needed in the
rehearsal piece
MUSIC
preparation,
B. PROGRAM PLANNING and staging
using the
Basics of Planning a
integrated arts  performs
Music Performance
approach basic

18
 Rehearsal Preparation musical SPA_MP
Staging the  demonstrates skills for P8-IVa-2
Performance an voice 2.analyzes  plans
understanding and the for a music
of the staging instrume importance of program 
process nts a good music 
utilizing programming, 

C. REHEARSALS AND elements of rehearsal 
PERFORMANCE: Plays production preparation, 
and staging 
and/or Music values like 
Performances pertaining music, design, 
and movement   condu
to Life Sources,
 cts various SPA_MM
Heritage and Culture 
 demonstrates performs
3.improvises rehearsals P8-IVa-b-
an music pieces and run-
music based 3
understanding with cultural
on local throughs 
of rehearsal heritage 
cultural
and staging content  perfor
heritage
methods ms in front
leading to run- of an
throughs and audience  SPA_MP
performances   performs  P8-IVa-
music 4.identifies  condu
b-4
through solo acceptable cts a
and with rehearsal feedback
accompani methods session
ment applicable to with the
good program audience 
planning 
 performs
improvisa
tion of 

19
  employs local
acceptable musical
rehearsal materials
methods to
good program  evalua
planning tes the
production
 applies process in
aspects of class 
the 
integrated  writes
arts a journal of
approach experience
in the s of the
staging entire
music Grade 8 
performanc
es
*the
performance
standards for
the fourth
quarter will be
showcased in
collaboration
with all the
other art fields

GRADE 8: Community Realities and Life Sources

20
Schedule

MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY

3-4 INTRO TO MUSIC II INSTRUMENTAL INTRO TO MUSIC II VOCAL ENSEMBLE INTRO TO MUSIC II
PM ENSEMBLE
4-5 SOLO INSTR SOLO INSTR SOLO INSTR
PM
Coverage of INTRO TO MUSIC II:
1st Q: Community/Folk life and music; Introduction to Music II-A
2nd Q: Ecology and natural resources; Introduction to Music II-B
3rd Q: Basic research, mapping of tangible and intangible musical cultures; Introduction to Music II-C
4th Q: Performance: instrument/voice/choir; Collaboration of the Different Art Fields

Solo Performance/Collaboration: instrument/voice/choir---a) SOLO: WINDS, GUITAR, PIANO, STRINGS, percussion, VOICE; b)
INSTRUMENTAL ENSEMBLE: INDIGENOUS MUSIC ENSEMBLE (SLT PARTNERSHIP), Rondalla, Recorder, Chamber/Mixed;
c) CHOIR: SSA/SATB OR DIVISI
MATERIALS:
Introduction to Music: Basics of Music by Michael Zinn, Fundamentals of Music by Herrold, Introductory Musicianship by
Theodore Lynn
Community/Folk Music: Dictionary of Filipino Musical Terms (UPCE), Anthology of Philippine Folk Songs by Damiana Eugenio,
CCP Encyclopedia of Music, Select Transcriptions of Philippine Folk Songs by Lilia Tolentino (unpublished thesis); Compendium of
Humanities by NRCP, Palabunibunyan by Aga Mayo Butocan, Gongs and Bamboo by Jose Maceda
Ecology: Soundscape by Murray Schafer, Earth Music by Arvin Villalon
Rondalla: Celso Espejo Rondalla Methods by Celso Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Philippine Rondalla

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by Angelita Pasamba, Laro-Rondalya by Polvoriza, Muyco, Trangco, 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
Solo Voice: Kundiman at Iba Pa I and II, NAMCYA SERIES, Folksongs of the Visayas by Priscilla Magdamo, Voice Methods of
Concone, Marchesi, MacClosky, Foundations of Singing by 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 Benitez, Tuklas Sining, CCP Encyclopedia, ―Mangalimog ako: Finding one‘s voice in Sugidanon (epic chanting)‖ by Christine
Muyco in Songs of Memory in Islands of Southeast Asia , Musika Jornal, Sonic Orders, Songs of the Babaylan (Grace Nono) Musics of
ASEAN , Compendium on the Humanities NRCP
nd
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 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 I, 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 Method by Celso Espejo, Philippine Folk Dances for Rondalla by Edna Culig, Philippine Rondalla
by Angelita 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

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

www.upethnom.com
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