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Music
Quarter 1 – Module 2:
Music of Lowlands of Luzon:
Liturgy and Devotional Music and
Secular Music
Music – Grade 7
Alternative Delivery Mode
Quarter 1 – Module 2: Music of Lowlands of Luzon: Liturgy and Devotional Music and
Secular Music
First Edition, 2020

Republic Act 8293, Section 176 states that: No copyright shall subsist in any work of
the Government of the Philippines. However, prior approval of the government agency or office
wherein the work is created shall be necessary for exploitation of such work for profit. Such
agency or office may, among other things, impose as a condition the payment of royalties.

Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names,
trademarks, etc.) included in this module are owned by their respective copyright holders.
Every effort has been exerted to locate and seek permission to use these materials from their
respective copyright owners. The publisher and authors do not represent nor claim ownership
over them.

Published by the Department of Education

Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M. San Antonio

Development Team of the Module

Writers: Babelyn T. Gica
Content Editor/s: Nenita G. Jaralve
Evelyn G. Patiño
Language Editor: Fanny Y. Inumerables
Illustrator/s: Babelyn T. Gica
Layout Artist: Babelyn T. Gica
QA Evaluator/s: Milanie M. Panique
Moderator: Milanie M. Panique
Management Team: Marilyn S. Andales Ed.D., CESO V – Division Superintendent
Leah B. Apao, Ed.D.CESE – Asst. Schools Division Superintendent
Ester A. Futalan, Ed.D. – Asst. Schools Division Superintendent
Cartesa M. Perico, Ed.D. – Asst. Schools Division Superintendent
Mary Ann P. Flores – CID Chief
Isaiash T. Wagas – EPS LRMS
Nenita G. Jaralve – EPS MAPEH

Printed in the Philippines by ________________________

Department of Education – Region VII, Division of Cebu Province

Office Address: IPHO Bldg., Sudlon, Lahug, Cebu City

Telefax: (032) 255-6405
E-mail Address: cebu.province@deped.gov.ph ; depedcebuprovince@yahoo.com
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Music
Quarter 1 – Module 2:
Music of Lowlands of Luzon:
Liturgy and Devotional Music and
Secular Music
Introductory Message
For the facilitator:
Welcome to the Music 7 Alternative Delivery Mode (ADM) Module on “Music of
Lowlands of Luzon: Liturgy and Devotional Music and Secular Music!”
This module was collaboratively designed, developed and reviewed by educators both
from public and private institutions to assist you, the teacher or facilitator in helping the
learners meet the standards set by the K to 12 Curriculum while overcoming their
personal, social, and economic constraints in schooling.
This learning resource hopes to engage the learners into guided and independent
learning activities at their own pace and time. Furthermore, this also aims to help
learners acquire the needed 21st century skills while taking into consideration their
needs and circumstances.
In addition to the material in the main text, you will also see this box in the body of the
module:

Notes to the Teacher

This contains helpful tips or strategies that will
help you in guiding the learners.

As a facilitator, you are expected to orient the learners on how to use this module. You
also need to keep track of the learners' progress while allowing them to manage their
own learning. Furthermore, you are expected to encourage and assist the learners as
they do the tasks included in the module.

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For the learner:
Welcome to the Music 7 Alternative Delivery Mode (ADM) Module on “Music of
Lowlands of Luzon: Liturgy and Devotional Music and Secular Music!”
This module was designed to provide you with fun and meaningful opportunities for
guided and independent learning at your own pace and time. You will be enabled to
process the contents of the learning resource while being an active learner.
This module has the following parts and corresponding icons:

This will give you an idea of the skills

What I Need to Know or competencies you are expected to
learn in the module.

This part includes an activity that aims

to check what you already know about
What I Know the lesson to take. If you get all the
answers correct (100%), you may
decide to skip this module.

This is a brief drill or review to help

What’s In you link the current lesson with the
previous one.

In this portion, the new lesson will be

What’s New introduced to you in various ways such
as a story, a song, a poem, a problem
opener, an activity or a situation.

This section provides a brief

discussion of the lesson. This aims to
What is It help you discover and understand new
concepts and skills.

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 This comprises activities for
independent practice to solidify your
understanding and skills of the topic.
What’s More You may check the answers to the
exercises using the Answer Key at the
end of the module.

This includes questions or blank

What I Have Learned sentence/paragraph to be filled in to
process what you learned from the
lesson.
This section provides an activity which
What I Can Do will help you transfer your new
knowledge or skill into real life
situations or concerns.
This is a task which aims to evaluate
Assessment
your level of mastery in achieving the
learning competency.
In this portion, another activity will be
Additional Activities
given to you to enrich your knowledge
or skill of the lesson learned.
This contains answers to all activities
Answer Key
in the module.

At the end of this module you will also find:

References This is a list of all sources used in

developing this module.

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The following are some reminders in using this module:

1. Use the module with care. Do not put unnecessary mark/s on

any part of the module. Use a separate sheet of paper in
answering the exercises.
2. Don’t forget to answer What I Know before moving on to the other
activities included in the module.
3. Read the instruction carefully before doing each task.
4. Observe honesty and integrity in doing the tasks and checking
your answers.
5. Finish the task at hand before proceeding to the next.
6. Return this module to your teacher/facilitator once you are through
with it.
If you encounter any difficulty in answering the tasks in this module, do
not hesitate to consult your teacher or facilitator. Always bear in mind
that you are not alone.
We hope that through this material, you will experience meaningful
learning and gain deep understanding of the relevant competencies.
You can do it!

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 What I Need to Know

This module was designed and written with you in mind. It is here to help
you master the Music of Lowlands of Luzon: Liturgy and Devotional Music
and Secular Music. The scope of this module permits it to be used in many
different learning situations. The language used recognizes the diverse
vocabulary level of students. The lessons are arranged to follow the
standard sequence of the course. But the order in which you read them
can be changed to correspond with the textbook you are now using.

The module contains two lessons, namely:

• Liturgy and Devotional Music
• Secular Music

After going through this module, you are expected to:

1. recall concepts of the basic musical elements and processes;
2. analyze the musical elements of selected lowland vocal and
instrumental music selections;
3. analyze examples of Philippine liturgical and devotional, and secular
music from Luzon and describe how the musical elements are used
through a cluster map or differentiated activities;
4. demonstrate understanding of the musical elements among
culturally diverse community in our country; and
5. display harmony in the different musical elements

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 What I Know

A. GUESSING ACTIVITY
The following are the different musical elements. Read the definition given
in each item and arrange the jumbled letters to form the correct word.
Write your answers on your answer sheet.

1. It is the horizontal succession of notes written or performed in a

recognizable shape.
YLOMED - ____________________

2. Elements of music that refers to loudness and softness of sound

CISYNDAM - ____________________

3. The quality of musical sound or voice

REITMB - ____________________

4. It is the highness or lowness of tone.

ITCPH - ____________________

5. The speed at which music is played, often indicated on written

compositions by a descriptive or metronome mark
MPEOT - ____________________

6. This is the overall structure of a musical composition.

OFMR - ____________________

7. Vertical arrangement and simultaneous sound production of notes

that blend into a chord
NAYMOHR - ____________________

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B. WORD CLASSIFICATION
Group the following songs according to different Philippine music styles.
Write you answers on your answer sheet.

Dungawin Mo Hirang Dios Te Salve

Mutya ng Pasig Sarung Banggi
O Ilaw Alay
Nasaan Ka Irog Atin Cu Pung Singsing
Pasyon

Folk Song Harana Kundiman Devotional

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 Lesson
Liturgy or Devotional Music
2 and Secular Music
The music of the lowlands of Luzon is composed of Vocal and Instrumental music,
which varies in every province of Luzon.
The lowland folks are composed mostly of farmers, fishermen, artisans, vendors, and
traders, and common people. They have a deep faith in God, whom they serve with
faith and devotion. His/her key celebrations are fiestas or festivals for thanksgiving of
good harvest, and to honor Jesus Christ, Santo Niño, Virgin Mary, and patron saints
in the Roman Catholic Church.
This lesson is an overview on the music of the Lowlands of Luzon, particularly on the
Liturgy and Devotional Music, and Secular Music. Through the lesson, one will
discover how the people of the Lowlands of Luzon express their feelings towards each
other and the environment, their history, and their religious beliefs through the medium
of voice and musical instruments. You will be asked to participate in a series of
activities provided in this module.

What’s In

Have you heard or read any of the following terms?

Kyrie Gloria Credo Sanctus

Regina Coeli Alay Adios
Pater Noster (Our Father) Ave Maria
Dios Te Salve (Hail Mary)

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Those terms listed on the previous page are in the Latin and English language and
refers to the parts and songs of the Catholic Mass. Choose one song from the list, and
do the following:

1. Sing the song softly by yourself.

2. Analyze the song by describing its elements of music. Use a separate sheet for
your answers.

Melody : _____________________________________

Rhythm : _____________________________________

Tempo : _____________________________________

Harmony : _____________________________________

Dynamics : _____________________________________

Notes to the Teacher

This activity will help you link the previous lesson
to the current one. It will also help you assess
learner’s understanding about the previous
lesson.

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 What’s New

I. Vocal Music
LITURGY AND DEVOTIONAL MUSIC
Religious music of the lowlands of Luzon reveals the impact of Spanish colonization
to the Philippines which lasted for almost three centuries. With the introduction of
Christianity came the different Western forms of music that are used for religious rites.
Some of these were adapted by Filipino musicians to suit Philippine culture and
traditions (i.e. Music used for Salubong, Senakulo, Santacruzan, Flores de Mayo.) At
the same time, some indigenous Philippine musical forms were incorporated to
Christian practices (i.e. Obando Fertility Rites and Pasyon chant.)

FRJ. “Ang Mga Sumulat ng Naunang Tagalog version ng Pasyon.” GMA News, 2017.

Pasyon is a Philippine narrative of the Passion, Death, and Resurrection of Jesus

Christ in a form of song with a dramatic theme. It is a book of stanzas of five lines of
eight syllables. The whole text is chanted and known as “Pabasa” and is recited during
Holy Week (Semana Santa).

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 Pata, Danny. “Filipinos Celebrate Easter Sunday with Traditional Salubong.” GMA News, 2017.

Salubong is a religious ritual that re-enacts the meeting of the Risen Christ with His
mother on the dawn of Easter Sunday. It is performed under a prepared arch where
the veiled image of the Virgin Mary has been placed.
A child dressed as an angel is lowered by ropes from a high platform to lift the
mourning veil of the grieving Mother while other children dressed in angel costumes
sing the “Regina Coeli Laetare” meaning “Queen of Heaven.” The church bells are
rung to signify the end of Virgin Mary’s mourning for Jesus Christ’s resurrection from
the dead.

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 PIO Batangas City. “Flores de Mayo at Santacruzan muling ipagdiriwang sa Batangas City.” City Tourism Office and Cultural Affairs, 2016.

Flores de Mayo or “Flowers of May” is a Catholic festival held on the month of May.
It is one of devotions to the Blessed Virgin Mary or “Alay” (offering). The celebration is
held inside the church wherein children bring flowers to offer to the image of the Virgin
Mary at the altar while they sing the “Alay ng Bulaklak kay Maria”.

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 Photo from: http://www.iloilo.net.ph/events/

Santacruzan is a religious-historical event that dramatizes the finding of the Holy

Cross by Queen Helena and her son, Constantine the Great. It is held throughout the
Philippines during the month of May. As the sagalas and escorts parade the streets of
the community, the musiko (brass band) accompanies the procession with the music
“Dios Te Salve Maria”.

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 What is It

In this lesson, you will learn the colonially-influenced secular music in Luzon.
SECULAR MUSIC refers to any music that is not religious in nature.
HARANA

Photo from: http://rafi.org.ph/wp-content/uploads/2012/10/Harana-mikee-pepito.jpg

Harana is a serenade traditionally sung by a man to express his love to a lady. It is

sung with emotion and usually accompanied by a guitar. Such popular Filipino harana
songs are “Ang Tangi Kong Pag-ibig,” “O Ilaw,” and “Dungawin Mo Hirang.” Harana is
in duple or quadruple meter in danza menor or habanera tempo.

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 KUMINTANG
Kumintang is originated from Balayan, Batangas. This song is in triple meter with
themes of love and courtship.
In 1926, when Pasig became the venue of carnival performances, Nicanor Abelardo
was inspired to compose the “Mutya ng Pasig” in kumintang tempo. In this song, the
mutya expresses her feelings under the light of the moon. She is mourning the loss of
her love, which symbolizes the country’s loss of freedom.

English Translation

When at night the

moon
In the sky looks
over,
As if the South wind
awakens it as it
sleeps on the
water.
A vision of
immaculate (pure)
whiteness,
With hair let loose
like flowing water,
This is the Muse of
Pasig,
This is the Muse of
Pasig.

As she moves
In the white foam of
bubbles.
With a song, with
poetry.
With a song, with
poetry
I was once a muse,
In the kingdom of
love,
When love died,
The kingdom
vanished.

My strength was put

(shifted) into,
The hearts of all,
If you wish me to
live,
Give (my) love
away!

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 PANDANGGO
Pandanggo is a dance form that can be found in the different islands of Luzon such
as Batanes, Ilocos, Tarlac, and parts of the Visayas. It is a variation of a Spanish word
“fandango.” It became popular in the 19th century among the elite of Manila and was
later adapted among the local communities. A form of entertainment in the Tagalog
region called Pandangguhan is performed during social celebrations.
Pandanggo is a courtship dance but it can also refer to a type of song to entertain the
farmers in the rice field. The singers of this folk song are called pandanggeros and
pandanggeras.
POLKA
Polka is originated from a Bohemian dance that became popular in Europe and
America in the early 19th century. In the Philippines, it was performed in elegant
evening gatherings at the height of its popularity during the Spanish colonial period.
The tempo is in quick duple meter while the melody is supported by the
chords/harmonies of tonic (I), dominant (V), and sub-dominant (IV). There are some
Philippine folk songs that are in polka rhythm like Pamulinawen (“Stone-hearted”),
Magtanim Ay Di Biro (“Planting Rice Is Never Fun”) and Leron, Leron Sinta (“Leron
the Beloved”).

BALITAW
Balitaw is a dialogue or courtship song in triple meter, mostly in 2 and 3 part forms
and arranged with counter melodies. Some of the examples are:

• “Sa Libis ng Nayon” and “Bakya Mo Neneng” composed by Santiago Suarez

• “Arimunding-munding” composed by Severino Reyes

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 KUNDIMAN (Art Song)
Kundiman came from the words “kung hindi man.” Through its melody, lyrics, and
expressive singing, the kundiman conveys a selfless and spiritual attitude, intense
love, longing, caring, devotion, and oneness not only with a romantic partner, but also
with a parent, child, a spiritual figure, or the motherland.
Some famous Filipino kundiman composers are Francisco Santiago, Nicanor
Abelardo, Bonifacio Abdon, Francisco Buencamino, and Angel Peña.
Among the famous kundiman performers in the early 1900’s are Atang de la Rama,
Jovita Fuentes, Conching Rosal, and Ruben Tagalog.
In musical context, kundiman usually starts in a minor key then goes to the major key
and in triple meter. Some examples of the kundiman are:

• “Pilipinas Kong Mahal” by Francisco Santiago

• “Nasaan Ka Irog” and “Huling Awit” by Nicanor Abelardo
• “Jocelynang Baliwag” by an unknown composer inspired the revolutionaries in
Bulacan during the 1896 revolution
• “Sa Sariling Bayan” by V. Tolentino
• “Iyo Kailan Pa Man” by Angel Peña

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 What’s More
Music of lowland Luzon may be divided into: Music for Liturgy and devotional music;
Secular music with Spanish Influences and the music during the American Regime
and Japanese Occupations.
Vocal Music is any type of music that is sung orally or without a musical
accompaniment. It is also called “a capella, a vocal composition where singers
performed by means of the human voice.
Instrumental Music – type of music that is sung with accompaniment
Philippine Music – is a product of unique blending of the Eastern and Western music.
Early Filipinos, even before the colonial era was innately musical in nature.
Categories of Philippine Music:
A. Indigenous or Ethnic Music is diverse in nature. It can either be vocal or instrumental. It
is rhythmic in nature rather than melodic.

B. Spanish-colonial music – liturgical and religious music.

The Spaniards discovered that the Filipinos were singing people who proved to be
adept and enthusiastic in learning the plainsong, flute, harp and the guitar. And the
very first sound of Christian church music that the “natives” heard was the Gregorian
Chant or plain chant, an austere, unaccompanied monophony.
The following are examples of religious music:
1. Ave Maria – This music is for tenor solo with piano or harmonium
accompaniment
2. Flores de Maria – This is intended for three voices with organ or harmonium
accompaniment
3. O Salutaris Hostia – This is a grand mass for full orchestra (eight voices)

C. American-colonial music – was a period of cultural and musical growth in the Philippines.
R & B and Rock and Roll became part of the school curriculum. During the 1960’s, the song
of the Beatles became popular.

D. Contemporary Music – Refers to the song of the 21st century known as “Pinoy
Music or Original Pilipino Music (OPM)” which are written in Tagalog, Taglish and
English language. This is also the period where Filipino artists and song writers
became popular like Freddie Aguilar and different Pinoy bands like Parokya ni Edgar,
Rivermaya, Sandwich, Cueshe, and other Pinoy rock bands.

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Ready, Set, DESCRIBE!
Write in the cluster map the Categories of Philippine Music and describe
each. Use a separate sheet for your answers.

Categories
of
Philippine
Music

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 What I Have Learned

The music for liturgy and devotional music of the lowlands of Luzon
reflects the impact of Spanish colonization which lasted for almost three
centuries, and how the Christianity affected the religious practices of the
ethno-linguistic groups. Unfortunately, these are on the limit of extinction
due to modernization and diversity of religion. However, efforts from the
youth and education sector are joining forces in reviving long lost
traditions, if not through the traditional means, through the surviving
remnants of the Hispanic-influenced music which are undergoing a
transformation into present day versions.
Secular music of the lowlands of Luzon bears influences of Spanish
culture and serves as reflections of that era, as seen in the messages of
the songs. These songs, mostly about love of a man for a woman, have a
deeper meaning for the Filipinos at that time. The man’s longing for the
love of a woman is transformed into the country’s love and longing for a
free Philippines, as embodied in the woman.

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 What I Can Do

LET’S CREATE!
Pasig River is used to be a major waterway lined with beautiful houses and
breathtaking scenery. It inspired many artists to create remarkable literature and
artworks. However, industrial development has led to its decline.
How can you help create awareness on the environmental rehabilitation of Pasig
River?
Choose one (1) of the activities below:
A. Compose a song that applies the different elements of music. (Write your
own song on a long bond paper. You can record a video of yourself singing
the song using a cellphone or camera if you have.)
B. Illustrate your concepts and thoughts on a cartolina or 1/8 sized illustration
board.
C. On a long bond paper, make a collage using recycled photos, newspaper
clippings, or magazines. Write an explanation below the collage.

Rubric: (Song Composition)

CATEGORY 4 3 2

Elements in Student is able to Student applies Student applies

Music apply musical some musical few of the musical
elements, styles, and elements, styles and elements, styles in
supports opinions supports his/her the song, and
about the theme. opinions. unable to support
it with valid
criteria.

Purpose of Student identifies all Student identifies Student is unable

Music purposes of music to several purposes of to define the
culture/history. music related to purpose of music
culture/history. related to
culture/history.

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Rubric: (Illustration)

CATEGORY 4 3 2 1

Drawing Drawing is Drawing is Drawing has The drawing

expressive and expressive and few details. It is lacks almost
detailed. Shapes, somewhat primarily all detail or it
patterns, shading, detailed. Little representational is unclear
and/or texture are use has been with very little what the
used to add made of use of pattern, drawing is
interest to the patterns, shading, or intended to
painting. Student shading, or texture. Student be. Student
has great control texture. needs to needs to
and is able to Student has improve control. work on
experiment a basics, but had control.
little. not “branched”
out.

Design/ Student applies Student applies Student applies The student

design principles design design does not
Composition
(such as unity, principles (such principles (such appear to be
contrast, balance, as unity, as unity, able to apply
movement, contrast, contrast, most design
direction, balance, balance, principles to
emphasis, and movement, movement, his/her own
center of interest) direction, direction, work.
with great skill. emphasis, and emphasis, and
center of center of
interest) with interest) but the
fair skill. overall result is
not pleasing.

Creativity Student has Student has Student has Student has

taken the taken the copied some not made
technique being technique painting from much
studied and being studied the source attempt to
applied it in a way and has used material. There meet the
that is totally source material is little evidence requirements
his/her own. The as a starting of creativity, but of the
student’s place. The the student has assignment.
personality/voice student’s done the
comes through. personality assignment.
comes through
in parts of
painting.

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Rubric: (Collage Making)

CATEGORY 4 3 2 1

Attention to The student gives a The student gives The student gives The student’s
Theme reasonable a reasonable a fairly explanations are
explanation of how explanation of reasonable weak and
every item in the how most items explanation of illustrate difficulty
collage is related to in the collage are how most items understanding
the assigned related to the in the collage are how to relate
theme. For most assigned theme. related to the items to the
items, the For many of the assigned theme. assigned theme.
relationship is clear items, the
without relationship is
explanation. clear without
explanation.

Creativity Several of the One or two of the One or two The student did
graphics or objects graphics or graphics or not make or
used in the collage objects used in objects were customize any of
reflect an the collage reflect made or the items on the
exceptional degree student creativity customized by collage.
of student creativity in his/her creation the students, but
in his/her creation and/or display. the ideas were
and/or display. typical rather
than creative
(e.g., apply
emboss filter to a
drawing in
Photoshop).

Quality of The collage shows The collage The collage The collage was
Construction considerable shows attention shows some put together
attention to to construction. attention to sloppily. Items
construction. The The items are construction. appear to be just
items are neatly neatly trimmed. Most items are “slapped on.”
trimmed. All items All items are neatly trimmed. Pieces may be
are carefully and carefully and All items are loose or hanging
securely attached securely attached carefully and over the edges.
to the backing. to the backing. A securely attached Smudges, stains,
There are no stray few barely to the backing. A rips, uneven
marks, smudges or noticeable stray few barely edges, and/or
glue stains. Nothing marks, smudges noticeable stray stray marks are
is hanging over the or glue stains are marks, smudges evident.
edges. present. Nothing or glue stains are
is hanging over present. Nothing
the edges. is hanging over
the edges.

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 Assessment

Directions: Read the following music samples. What part of the people’s
lives is it commonly used? What message does the music convey to
people? Write your answers on your answer sheet. An example is given
for you.

Alay Nasaan Ka Irog Regina Coeli

Pandanggo Pasyon Dios Te Salve
Magtanim Ay Di Biro O Ilaw
Pilipinas Kong Mahal Mutya ng Pasig

MUSIC TITILE SPECIAL FUNCTION MESSAGE OF THE

SONG
Example: Ang Tangi Kong Secular Music The song is sung by a man
Pag-ibig to express affection to a
woman.

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 Additional Activities

“Bayan Ko” is one of the examples of secular music. Sing or listen to the
song, and describe its elements of music.

1. Melody: __________________________________________
2. Pitch: __________________________________________
3. Timbre: __________________________________________
4. Dynamics: __________________________________________
5. Tempo: __________________________________________

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Answer Key

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References
BOOKS and WEBSITES:
Depart of Education- Bureau of Learning Resources. Music & Arts 7
Teacher’s Guide, pp. 20-37.
Depart of Education- Bureau of Learning Resources. Music & Arts 7
Learner’s Material, pp.19-36.
https://lomerferrancullo.wordpress.com/2016/11/29/music-for-liturgy-and-devotional-music/
https://www.slideshare.net/crizzelejoyligtas/liturgy-and-devotional-music

IMAGES:
DepEd 2015
https://www.google.com.ph/search?q=bayan+ko+lyrics&tbm=isch&ved=2ahUKEwj66ZHygbj
qAhUyEqYKHfXKBuIQ2c
https://www.batangascity.gov.ph/web/current-news/1118-flores-de-mayo-at-santacruzan-
muling-ipagdiriwang-sa-batangas-city
http://www.traveltothephilippines.info/tag/santacruzan-flores-de-mayo/page/3/
https://www.gmanetwork.com/news/lifestyle/artandculture/607145/filipinos-celebrate-easter-
sunday-with-traditional-salubong/story/
https://www.gmanetwork.com/news/news/ulatfilipino/607106/ang-mga-sumulat-ng-naunang-
tagalog-version-ng-pasyon/story/

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For inquiries or feedback, please write or call:

Department of Education – Region VII, Division of Cebu Province

Office Address: IPHO Bldg., Sudlon, Lahug, Cebu City

Telefax: (032) 255-6405

Email Address: cebu.province@deped.gov.ph

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