Music Las 4

Department of Education
Region X
DIVISION OF CAGAYAN DE ORO CITY
CDONHS- Balulang Annex
Balulang, Cagayan de Oro City
SY:2020-2021
LEARNING ACTIVITY SHEET
MUSIC 8
fourth QUARTER
PREPARED BY:
KRISTY JANE A. CAGAS

SUBJECT TEACHER
✓
LEARNING ACTIVITY SHEET (LAS)
GRADE 8
Name: Date: Score:

Subject : MAPEH ( MUSIC QUARTER 4 )
Lesson Title : MUSICAL THEATER AND FESTIVALS OF ASIA
Learning Competency : IDENTIFIES MUSICAL CHARACTERISTICS OF SELECTED ASIAN MUSICAL THEATER THROUGH
VIDEO FILMS OR LIVE PERFORMANCES (MU8TH-Iva-g-1)
Reference: MUSIC AND ARTS ( LEARNING MATERIAL 8 ) LAS No.: M4.1
CONCEPT NOTES
JAPANESE THEATER
The traditional form of popular theater began at the end of the 16th century and soon became the most successful
theater entertainment in the red light districts of the great cities. Together with Nōh, it is considered the most important
Japanese contribution to World Theater. Both Nōh and kabuki are unique and genuine expressions of the Japanese spirit
and culture. They mirror, however, taste and ideals of different social classes, in profoundly different environments and
epochs.
Vocal Pattern and Techniques:
1) Ipponchōshi or the continuous pattern – used in speeches building up to an explosive climax in the aragoto (oversize,
supernatural, rough hero) style, it requires an extraordinary breath control that only few experts succeed in achieving
2) Nori technique – adapted from the chanting of jōruri, implies a very sensitive capacity of riding the rhythms of the
shamisen (string instrument), declaiming each accompaniment
3) Yakuharai technique - the subtle delivery of poetical text written in the Japanese metrical form of alternating seven and
five syllables.
Vocal and Instrumental Features
Dances and movements are accompanied by shamisen music which collected and popularized a number of aspects
from all previous forms of Japanese music, from gagaku (classic court music imported from China during the 18th century),
kagura (performed in Shinto shrines), nō (chant derives from shōmyō, the sophisticated and rich tradition of Buddhist
chanting), down to the folk songs and fashionable songs of the day. The most popular shamisen music was called nagauta
(long song) which reached a golden age in the first half of the 19th century as dance music for the henge mono or quick
change pieces.
Naugata music is very flexible, can be performed by one shamisen or by an entire orchestra of twenty musicians ,
of which ten are shamisen players, while other play flutes (fue taken from the nō) and drums (small drum-kotsuzumi; waist
drum-ōtsuzumi; stick drum-taiko).
EXERCISE: FILL IN THE BLANK
1. ___________used in speeches building up to an explosive climax in the aragoto

2. ___________the subtle delivery of poetical text written in the Japanese metrical form of alternating seven and
five syllables.
3. Dances and movements are accompanied by ____________.
4. ____________ music is a very flexible type of music in Japanese theater.
5. ____________is the most popular shamisen music which reached a golden age in the first half of the 19th century.
✓
GRADE 8
Name: Date: Score:

CONCEPT NOTES
CHINESE THEATER
Peking opera is a form of traditional Chinese theater which combines music, vocal performance, mime, dance and
acrobatics. It arose in the late 18th century and became fully developed and recognized by the mid-19th century.The form
was extremely popular in the Qing Dynasty court and has come to be regarded as one of the cultural treasures of China.
Peking opera is not actually a monolithic form, but rather a coalescence of many older forms. However, the new
form also introduced its own innovations. The vocal requirements for all of the major roles were greatly reduced for Peking
opera. The Chou, in particular, rarely has a singing part in Peking opera, unlike the equivalent role in Kunqu style. The
melodies that accompany each play were also simplified, and are played with different traditional instruments than in
earlier forms. Perhaps most noticeably, true acrobatic elements were introduced with Peking opera. The popularity of
Peking opera has been attributed to the simplicity of the form, with only a few voices and singing patterns. This allowed
anyone to sing the arias themselves.
Beijing opera follows other traditional Chinese arts in emphasizing meaning, rather than accuracy. The highest
aim of performers is to put beauty into every motion. Indeed, performers are strictly criticized for lacking beauty during
training. Additionally, performers are taught to create a synthesis between the different aspects of Beijing opera. The
four skills of Beijing opera are not separate, but rather should be combined in a single performance. One skill may take
precedence at certain moments during a play, but this does not mean that other actions should cease. Much attention is
paid to tradition in the art form, and gestures, settings, music, and character types are determined by long-held
convention. This includes conventions of movement, which are used to signal particular actions to the audience.
Performances are accompanied by music - usually played on three types of instrument: wind, string, and
percussion.
The main instruments are Chinese in origin: the jinghu, a two stringed instrument played with a bow, the yueqin,
a four-stringed instrument that is plucked, a sanxian, a three-stringed instrument which is also plucked, the suona horn,
Chinese flutes, and a variety of gongs and cymbals. The melodies are rhythmic and graceful.
The melodies played by the accompaniment mainly fall into three broad categories. The first is the aria. The arias
of Beijing opera can be further divided into those of the Erhuang and Xipi varieties. An example of an aria is wawadiao, an
aria in the Xipi style that is sung by a young Sheng to indicate heightened emotion. The second type of melody heard in
Beijing opera is the fixed-tune melody, or qupai. These are instrumental tunes that serve a wider range of purposes than
arias. Examples include the "Water Dragon Tune" (shui long yin), which generally denotes the arrival of an important
person, and "Triple Thrust" (ji san qiang), which may signal a feast or banquet. The final type of musical accompaniment
is the percussion pattern. Such patterns provide context to the music in ways similar to the fixed-tune melodies.
Traditionally, the musicians view throughout the performance and are dressed in the same style as the stage
assistants. They come and go freely and are never considered part of the stage picture. In contemporary China, the
musicians are often seated in an orchestra pit and kept offstage.
Music is an integral part of every performance. It provides an atmospheric background, accompanies the many
sung passages, controls the timing of movements and welds the performance into a rhythmical whole. Theater musicians
learn their parts by rote since Chinese musical notation is very imprecise.
Most music used in the Peking Opera has been worked out collaboratively between actors and musicians; most
is borrowed from already existing sources and recombined according to the requirements of a particular play. Although
they may be classified as string, wind, and percussion, the instruments of the Chinese orchestra have no counterparts in
the West.
The leader of the orchestra plays a drum which establishes the time and accentuates the rhythm. Gongs, cymbals,
brass cups, flutes, stringed instruments, and more exotic items complete the orchestra. Songs are accompanied only by
flute and strings, but entrances and exits are signaled by deafening percussion passages. Much of the onstage action is
performed to a musical background.
The actor’s delivery of lines is rigidly controlled by conventions. Each role has its prescribed vocal timbre and
pitch, and syllables are often drawn out regard for conversational usage in order to maintain the appropriate rhythm.
Even spoken passages are governed by strict rhythms and tempos. Chanted and sung passages are freely inserted into
spoken monologues or dialogues. Thus lines are rendered in an extremely stylized manner.
EXERCISE 1: TRUE OR FALSE
Direction: Write T if the statement is true and F if the statement is false.
1. Music in Chinese theater is an integral part of every performance.

2. The leader of the orchestra plays a cymbals which establishes the time and accentuates the rhythm.
3. Peking opera is not actually a monolithic form, but rather a coalescence of many older forms.
4. Peking opera is a form of traditional Chinese theater which combines music, vocal performance, mime, dance and
acrobatics.
5. The qupai of Beijing opera can be further divided into those of the Erhuang and Xipi varieties.
✓
GRADE 8
Name: Date: Score:

CONCEPT NOTES
Indonesian Theater
Wayang kulit shadow puppets are prevalent in Java and Bali in Indonesia, and Kelantan and Terengganu in
Malaysia are without a doubt the best known of the Indonesian wayang. Kulit means skin and refers to the leather
construction of the puppets that are carefully chiseled with very fine tools and supported with carefully shaped buffalo
horn handles and control rods.
Wayang is an Indonesian and Malay word for theater. When the term is used to refer to kinds of puppet theater,
sometimes the puppet itself is referred to as wayang. "Bayang", the Javanese word for shadow or imagination, also
connotes "spirit." Performances of shadow puppet theater are accompanied by gamelan in Java, and by "gender wayang"
in Bali.
Dalang as a source of recreation, of humor and of popular philosophy (essential communication between the artist
and the audience). Shadow play is an invention of man which reflects his experience of nature and of his thought. Puppets
are projected by the lamp on a white screen.
Non-jointed puppets were manipulated by the chief performer, the dalang, who told a story to the
accompaniment of several instruments, including some that are part of the presentday gamelan ensemble.
Wayang kulit was performed in royal court and widely performed in public on religious occasions so that knowledge of
wayang became widespread among all classes in Java.
Gamelan ensemble is comprised mainly by bronze percussion instruments, augmented by other percussion
instruments, strings, and flute. A full Javanese gamelan ensemble consists of:
a. saron - xylophone of heavy bronze bars

b. gender - bronze xylophone with resonance chambers beneath
c. bonang - set of bronze bowls
d. gong and kempul – hanging gongs
e. kenong and ketuk – single inverted bronze bowl
f. gambang – wooden xylophone
g. rebab – two-stringed fiddle
h. suling – flute
i. kendang – horizontal drum beat with the fingers on both ends
j. tjelempung – a zither of thirteen double strings
The preponderance of bronze instruments gives gamelan music a bright, lingering sound, ranging from the slow,
majestic melodies of the Javanese gamelan to the clangorous vibrancy of the Balinese gamelan. Fiddle and flute add a
delicate counterpoint to a four-square pattern of percussive melody
In addition to setting the mood or atmosphere of a play, music has two major dramatic functions in the theatre.
It accompanies the singing/chanting and it accompanies stage actions including dance. The importance of each function
varies from area to area and from theater form to theater form.
The Dalang sings the mood songs (suluk) at regular intervals during performance; in a nine hour wayangkulit, he
may sing fifty or sixty. Nevertheless they are considered relatively unimportant except as mood pieces. The same
generalized lyrics may be used in play after play. Suluk are never accompanied by the full gamelan ensemble. Often a
single instrument accompanies the singer, never more than three or four. The major dramatic function of gamelan music
is to accompany stage action. Entrances, exits, and fight scenes are executed in time to gamelan music.
EXERCISE :MULTIPLE CHOICE
1. __________ means skin.

a. Wayang b. Kulit c. Dalang d. Suluk
2. __________ is an Indonesian and Malay word for theater.
a. Wayang b. Kulit c. Dalang d. Suluk
3. __________ a zither of thirteen double strings
a. kenong and ketuk b. tjelempung c. kendang d. suling
4. __________ single inverted bronze bowl.
kenong and ketuk b. tjelempung c. kendang d. suling
5. __________ horizontal drum beat with the fingers on both ends.
a. kenong and ketuk b. tjelempung c. kendang d. suling
✓
GRADE 8
Name: Date: Score:

Learning Competency : DESCRIBES THE INSTRUMENTS THAT ACCOMPANY KABUKI, WAYANG KULIT, PEKING OPERA
( MU8TH-Iva-g-2)
CONCEPT NOTES
JAPANESE THEATER
change pieces.
Naugata music is very flexible, can be performed by one shamisen or by an entire orchestra of twenty musicians ,
of which ten are shamisen players, while other play flutes (fue taken from the nō) and drums (small drum-kotsuzumi; waist
drum-ōtsuzumi; stick drum-taiko).
CHINESE THEATER
Performances are accompanied by music - usually played on three types of instrument: wind, string, and
percussion.
The main instruments are Chinese in origin: the jinghu, a twostringed instrument played with a bow, the yueqin,
a four-stringed instrument that is plucked, a sanxian, a three-stringed instrument which is also plucked, the suona horn,
Chinese flutes, and a variety of gongs and cymbals. The melodies are rhythmic and graceful.
The melodies played by the accompaniment mainly fall into three broad categories. The first is the aria. The arias
of Beijing opera can be further divided into those of the Erhuang and Xipi varieties. An example of an aria is wawadiao, an
aria in the Xipi style that is sung by a young Sheng to indicate heightened emotion. The second type of melody heard in
Beijing opera is the fixed-tune melody, or qupai. These are instrumental tunes that serve a wider range of purposes than
arias. Examples include the "Water Dragon Tune" (shui long yin), which generally denotes the arrival of an important
person, and "Triple Thrust" (ji san qiang), which may signal a feast or banquet. The final type of musical accompaniment
is the percussion pattern. Such patterns provide context to the music in ways similar to the fixed-tune melodies.
The leader of the orchestra plays a drum which establishes the time and accentuates the rhythm. Gongs, cymbals,
brass cups, flutes, stringed instruments, and more exotic items complete the orchestra. Songs are accompanied only by
flute and strings, but entrances and exits are signalled by deafening percussion passages. Much of the onstage action is
performed to a musical background.
INDONESIAN THEATER
Gamelan ensemble is comprised mainly by bronze percussion instruments, augmented by other percussion
instruments, strings, and flute. A full Javanese gamelan ensemble consists of:
a. saron - xylophone of heavy bronze bars

b. gender - bronze xylophone with resonance chambers beneath
c. bonang - set of bronze bowls
d. gong and kempul – hanging gongs
e. kenong and ketuk – single inverted bronze bowl
f. gambang – wooden xylophone
g. rebab – two-stringed fiddle
h. suling – flute
i. kendang – horizontal drum beat with the fingers on both ends
j. tjelempung – a zither of thirteen double strings
The preponderance of bronze instruments gives gamelan music a bright, lingering sound, ranging from the slow,
majestic melodies of the Javanese gamelan to the clangorous vibrancy of the Balinese gamelan. Fiddle and flute add a
delicate counterpoint to a four-square pattern of percussive melody
EXERCISE :WATCH THE PLAY
DIRECTIONS: Watch the video clip of each theater play. Provide what is being ask.
1. Identify the different musical instruments use in the play.

2.Give its description per instrument.
3. How it is being played by the musician?
✓
GRADE 8
Name: Date: Score:

Learning Competency : DESCRIBES HOW A SPECIFIC IDEA OR STORY IS COMMUNICATED THROUGH MUSIC IN A
PARTICULAR ASIAN MUSICAL THEATER (MU8TH-IVb-h-3)
CONCEPT NOTES
JAPANESE THEATER
change pieces.
CHINESE THEATER
Peking opera is a form of traditional Chinese theater which combines music, vocal performance, mime, dance and
acrobatics.
Peking opera is not actually a monolithic form, but rather a coalescence of many older forms. However, the new
form also introduced its own innovations. The vocal requirements for all of the major roles were greatly reduced for Peking
opera. The Chou, in particular, rarely has a singing part in Peking opera, unlike the equivalent role in Kunqu style. The
melodies that accompany each play were also simplified, and are played with different traditional instruments than in
earlier forms. Perhaps most noticeably, true acrobatic elements were introduced with Peking opera. This allowed anyone
to sing the arias themselves.
Beijing opera follows other traditional Chinese arts in emphasizing meaning, rather than accuracy. The highest
aim of performers is to put beauty into every motion. Indeed, performers are strictly criticized for lacking beauty during
training. Additionally, performers are taught to create a synthesis between the different aspects of Beijing opera. The
four skills of Beijing opera are not separate, but rather should be combined in a single performance. One skill may take
precedence at certain moments during a play, but this does not mean that other actions should cease. Much attention is
paid to tradition in the art form, and gestures, settings, music, and character types are determined by long-held
convention. This includes conventions of movement, which are used to signal particular actions to the audience.
Traditionally, the musicians view throughout the performance and are dressed in the same style as the stage
assistants. They come and go freely and are never considered part of the stage picture. In contemporary China, the
musicians are often seated in an orchestra pit and kept offstage.
Music is an integral part of every performance. It provides an atmospheric background, accompanies the many
sung passages, controls the timing of movements and welds the performance into a rhythmical whole. Theater musicians
learn their parts by rote since Chinese musical notation is very imprecise.
The actor’s delivery of lines is rigidly controlled by conventions. Each role has its prescribed vocal timbre and
pitch, and syllables are often drawn out regard for conversational usage in order to maintain the appropriate rhythm.
Even spoken passages are governed by strict rhythms and tempos. Chanted and sung passages are freely inserted into
spoken monologues or dialogues. Thus lines are rendered in an extremely stylized manner.
INDONESIAN THEATER
Dalang as a source of recreation, of humor and of popular philosophy (essential communication between the artist
and the audience). Shadow play is an invention of man which reflects his experience of nature and of his thought. Puppets
are projected by the lamp on a white screen.
Non-jointed puppets were manipulated by the chief performer, the dalang, who told a story to the
accompaniment of several instruments, including some that are part of the present-day gamelan ensemble.
Wayang kulit was performed in royal court and widely performed in public on religious occasions so that knowledge of
wayang became widespread among all classes in Java.
In addition to setting the mood or atmosphere of a play, music has two major dramatic functions in the theatre.
It accompanies the singing/chanting and it accompanies stage actions including dance. The importance of each function
varies from area to area and from theater form to theater form.
The Dalang sings the mood songs (suluk) at regular intervals during performance; in a nine hour wayangkulit, he
may sing fifty or sixty. Nevertheless they are considered relatively unimportant except as mood pieces. The same
generalized lyrics may be used in play after play. Suluk are never accompanied by the full gamelan ensemble. Often a
single instrument accompanies the singer, never more than three or four. The major dramatic function of gamelan music
is to accompany stage action. Entrances, exits, and fight scenes are executed in time to gamelan music.
EXERCISE :TRUE OR FALSE
Direction: Write T if the statement is true and F if the statement is false.
1. Suluk are accompanied by the full gamelan ensemble.

2. The major dramatic function of gamelan music is to accompany stage action.
3. The most popular shamisen music was called nagauta (short song) which reached a golden age in the first half of
the 19th century as dance music for the henge mono or quick change pieces.
4. Music is an integral part of every performance in Beijing opera.
5. Beijing opera follows other traditional Chinese arts in emphasizing meaning, rather than accuracy.
6. Peking opera is a form of traditional Chinese theater which combines music, vocal performance, mime, dance and
acrobatics.
7. Wayang kulit was performed in royal court and widely performed in public on religious occasions.
8. Shadow play is an invention of man which reflects his experience of nature and of his thought.
9. Peking opera is not actually a monolithic form, but rather a coalescence of many older forms.
10. The puppeteer in Wayang kulit shadow play is called dalang.
✓
GRADE 8
Name: Date: Score:

Learning Competency :
1.IMPROVISE APPROPRIATE SOUND , MUSIC, GESTURE, MOVEMENTS, PROPS AND COSTUME FOR PERFORMANCE OF
A CHOSEN ASIAN TRADITIONAL MUSICAL AND THEATRICAL FORM (MU8TH-IV-b-h-7)
2. PERFORMS SELECTION/S FROM CHOSEN ASIAN MUSICAL THEATER (MU8TH-Iva-g-6)
PERFORMANCE TASK 1 : SCRAPBOOK MAKING (MUSIC and ARTS)
DIRECTIONS: Select one stage play based on the topics we discussed. Make a scrapbook of your selected theater play.
Contents of your scrapbook:

Nature and background of the theater play
Musical Instruments being used
Stage and props
Theater actor/actress
Songs being used
Script of the play
Scrapbook Rubrics
POINTS 20 15 10 5
Advanced Approaching Proficiency Developing Beginner
Proficiency
Content Information is complete and is Main points are Some main points and Main points are not
enhanced by accurate and covered but lack some details are missing. complete and are
appropriate details details greatly lacking in detail
Pictures, photographs, or Number and types of More and better visuals Very little pictorial
other similar devices add to visuals are adequate, could be used; captions representation is
overall effectiveness of the as are captions. only identify and label present; caption are
scrapbook; captions are rather than explain. incomplete.
relevant and explanatory.
Space, shapes and colors Design elements and Shows evidence of use of There is no
provide information principles used are some design elements and consideration of design
themselves and add to the adequate. principles. elements and
overall effectiveness of principles.
scrapbook.
THEME There is wholeness about the Most of the Only a portion of the Confusing and/ or
scrapbook; the theme is information relate to information relates to the inconsistent.
consistent throughout. The the theme of the theme of the scrapbook.
cover clearly identifies the scrapbook. The cover is The cover is unclear in its
theme. relevant to the message.
contents.
Overall The requirements of the All the requirements of Only some of the Few of the assignment
effective- assignment have been the assignment have assignment requirements requirements have
ness exceeded. The scrapbook is been fulfilled. The are fulfilled. The scrapbook been met. The
very creative and interesting. scrapbook is neat and lack neatness presentation as a
presentable. whole lacks
neatness.
✓
GRADE 8
Name: Date: Score:

Learning Competency : EVALUATES MUSIC AND MUSIC PERFORMANCES USING GUIDED RUBRICS APPLYING
KNOWLEDGE OF MUSICAL ELEMENTS AND STYLE ( MU8TH-IVc-h-8)
EXERCISE :
DIRECTIONS:You will watch a video clip about Wayang Kulit but focus your attention on the gamelan ensemble.
Write your observations and reactions with regards to the following elements of music listed in the table below.
VISIT: Wayang Kulit http://www.youtube.com/watch?v=JeVn1tNVmgg
WRITE YOUR OBSERVATION HERE:
__________________________________________________________________________________________________
__________________________________________________________________________________________________
__________________________________________________________________________

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Department of Education

LEARNING ACTIVITY SHEET

KRISTY JANE A. CAGAS

Name: Date: Score:

Vocal Pattern and Techniques:

Vocal and Instrumental Features

EXERCISE: FILL IN THE BLANK

1. ___________used in speeches building up to an explosive climax in the aragoto

Name: Date: Score:

Vocal and Instrumental Features

EXERCISE 1: TRUE OR FALSE

Direction: Write T if the statement is true and F if the statement is false.

1. Music in Chinese theater is an integral part of every performance.

Name: Date: Score:

Vocal and Instrumental Features

a. saron - xylophone of heavy bronze bars

EXERCISE :MULTIPLE CHOICE

1. __________ means skin.

LEARNING ACTIVITY SHEET (LAS)

Name: Date: Score:

a. saron - xylophone of heavy bronze bars

EXERCISE :WATCH THE PLAY

1. Identify the different musical instruments use in the play.

LEARNING ACTIVITY SHEET (LAS)

Name: Date: Score:

EXERCISE :TRUE OR FALSE

Direction: Write T if the statement is true and F if the statement is false.

1. Suluk are accompanied by the full gamelan ensemble.

LEARNING ACTIVITY SHEET (LAS)

Name: Date: Score:

Reference: MUSIC AND ARTS ( LEARNING MATERIAL 8 ) LAS No.: M4.6

PERFORMANCE TASK 1 : SCRAPBOOK MAKING (MUSIC and ARTS)

Contents of your scrapbook:

Name: Date: Score:

VISIT: Wayang Kulit http://www.youtube.com/watch?v=JeVn1tNVmgg

WRITE YOUR OBSERVATION HERE:

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