Module 1 AFRO-LATIN AMERICAN AND POPULAR MUSIC, Study notes of Latin language

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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 Z est for P rogress Z eal of P artnership

Name of Learner: ___________________________ Grade & Section: ___________________________ Name of School: ___________________________

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 known as 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

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.

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

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.

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.”

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

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.

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:

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    2. Cha Cha https://www.youtube.com/watch?v=lfygj9GVJ Dynamics:

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    3. The Entertainer https://www.youtube.com/watch?v=DWX51Or-P Timbre:

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    4. Beat it https://www.youtube.com/watch?v=B02LXuKWGTI Texture

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WHAT’S MORE African Music Latin American Music Jazz Music Popular Music

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WHAT I HAVE LEARNED

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 T EXTURE 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

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

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
6. BLUES, SOUL, SPIRITUAL, CALL AND RESPONSE
7. CUMBIA, TANGO, CHA-CHA, RUMBA, BOSSA NOVA, REGGAE, FOXTROT, PASA DOBLE
8. RAGTIME, BIG BAND, BEBOP, AND JAZZ ROCK
9. BALLAD, STANDARD, ROCK AND ROLL, ALTERNATIVE MUSIC AND DISCO What is it
10. AFRICAN MUSIC
11. LATIN AMERICAN MUSIC
12. POPULAR MUSIC
13. LATIN AMERICAN MUSIC
14. JAZZ MUSIC
15. AFRICAN MUSIC
16. POPULAR MUSIC
17. JAZZ MUSIC
18. AFRICAN MUSIC
19. LATIN AMERICAN MUSIC What’s More
20. MODERATE
21. LOUD
22. LIGHT OR THIN SOUND
23. POLYPHONIC What Can I Do
24. MODERATE / LIGHT OR THIN SOUND
25. FAST / LOUD
26. POLYPHONIC / LIGHT OR THIN SOUND
27. MODERATE / LOUD
28. HOMOPHONIC / LIGHT OR THIN SOUND Post Assessment
29. D 6. C
30. B 7. B
31. B 8. A
32. A 9. C
33. D 10. A Additional Activity
34. BALAFON 11. WHISTLE 21. TRUMPETS
35. RATTLES 12.RESONATOR BOW
36. ATINGTING KON 13. LUTE
37. AGOGO 14. KORA
38. SLITDRUM 15. ZITHER
39. DJEMBE 16.ZEZE
40. SHEKERE 17.FLUTES
41. RASP 18.HORNS
42. BODY PERCUSSION 19.KUDU HORN
43. LUNA 20.REED PIPES

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 [email protected] 09/11/ https://www.youtube.com/watch?v=fmeYKPlV4mk Pampatulog Love Songs Collection 2017: https://goo.gl/zyXuFE 09/11/ https://www.youtube.com/watch?v=lfygj9GVJ Martin Spitznagel – Classic March 28th, 2009. 09/11/ https://www.youtube.com/watch?v=DWX51Or-P Jez Morcilla 09909/11/ https://www.youtube.com/watch?v=B02LXuKWGTI planetolusola Compiled by: John Storm Roberts (2/24/1936 - 11/29/2009) 09/11/ https://www.youtube.com/watch?v=lswSQuBPaJk Paso Doble music: J.P. Strater – Paso Doble https://goo.gl/1xPDhp 09/11/ https://www.youtube.com/watch?v=--cRMOqBLWs TJaep 09/11/ https://www.youtube.com/watch?v=pMAtL7n_-rc Wish 10975 09/11/ https://www.youtube.com/watch?v=MQwoxnNUF2Y

15

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 whe n the d ark nig ht wr ap s the gr ave y ar d ar ound With only the d e ad in the ir v ig il to s e e B re ak not m y re p os e or the m ys tery p r of ound And pe rc hanc e thou m ays t he ar a s ad hym n re s ound ' T is I, O my c ountry, r aising a s ong unto the e. And ev e n my g rav e is r em em be re d no m ore Unm ark 'd by ne ve r a c r os s nor a stone Le t the plow s we ep thr oug h it, the sp ade tur n it o' er That m y as hes m ay c arp e t e ar thly f loor, B ef ore into nothing nes s at las t the y are b lown. The n will ob liv ion br ing to me no c ar e As ove r thy v ale s and p lains I s we e p; Thr ob b ing and c le anse d in thy s p ace and air With c olor and lig ht, with s ong and lame nt I f are , E v er re p e ating the f aith that I k ee p. M y F athe rland ad or' d, that s ad ne ss to my sor r ow le nd s B e lov ed F ilip inas, he ar now m y las t g ood - b y! I g ive the e all: p are nts and k indr ed and f r iend s F or I g o wher e no s lav e be f or e the op pr es s or b e nds , Whe r e f aith c an ne ve r kill, and God r e ig ns e ' er on hig h! F are well to y ou all, f r om m y s oul tor n away, F rie nds of m y c hild hood in the home disp oss e ss ed! Giv e thanks that I re s t fr om the we ar is om e d ay! F are well to the e, too, s we e t f rie nd that lig hte ne d m y way; B e lov ed cre ature s all, f are well! In d e ath ther e is re s t! 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.”