MAPEH 2 Flashcards

FOR STUDYING

1
Q

FOLK MUSIC AND ARTS

A

FROM THE STUNNING SOUTHEAST ASIAN COUNTRIES

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2
Q

MUSIC AND ARTS IN THE PHILIPPINES AND NEIGHBORING SOUTHEAST ASIA NATIONS

A

-SHARES MANY THINGS IN COMMON
-COUNTRIES IN MAINLAND ASIA OR INDOCHINA WERE MOSTLY AFFECTED BY CHINESE INFLUENCE
-COUNTRIES IN THE SOUTHERN ISLANDS WERE MOSTLY BY ISLAMIC MUSIC AND ARTS

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3
Q

WHY DO WE NEED TO STUDY THE FOLK MUSIC AND ARTS COMMON TO THE PHILIPPINES AND SOUTHEAST ASIAN IN PRE WAR ERA

A
  • MUSIC ECHOES VALUE AND PRINCIPLES
    -WE CAN SEE HEAR AND EXPERIENCE HOW OTHER REGIONS VALUE TRADITIONAL MUSIC AS IT REFLECTS THE COMMON PEOPLE
    -MUSIC EXPRESSES A FEELING OUR REGION CAN SHARE AND UNDERSTAND
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4
Q

MOST SOUTHEAST ASIAN MUSIC

A

-A COMMON TRAIT
-DEVELOP NOT ONLY NATIONAL IDENTITY BUT ALSO REGIONAL IDENTITY
-WE GAIN A SENSE OF PRIDE AND BELONGINGNESS
-MAJOR SOURCE OF ENTERTAINMENT AND SENSUAL PLEASURE AND ACKNOWLEDGE MUSIC

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5
Q

PERFORMING ART

A
  • PEOPLE OF SOUTHEAST ASIA HAVE LIVES WITH MUSIC EVEN BEFORE THEIR COLONIZERS CAME
    -WITH MORE THAN 7,000 ISLANDS THAT ARE HOME TO MANY TRIBES, THE PHILIPPINES ALONE HAS NUMEROUS ETHNIC SONGS FROM DIFFERENT REGIONS
    -INDONESIA HAS 17,000 AND REMEMBER THAT SOUTHEAST ASIA HAS 11 COUNTRIES
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6
Q

VOCAL MUSIC

A

A TYPE OF SINGING PERFORMED BY ONE OR MORE SINGERS EITHER WITH OR WITHOUT INSTRUMENTS (A CAPELLA )

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7
Q

WHAT KIND OF VOCAL MUSIC WERE COMMON TO THE OHILIPPINES AND SOUTHEAST ASIA IN THE PRE WAR ERA

A

-SONGS IN NORTHERN TRIBES IN LUZON SUCH AS THE IGOROT WERE INFLUENCE BY THE PENTATONIC SCALE
-SONGS IN SOUTHERN TRIBES OF MINDANAO THE MARANAOS WERE INFLUENCED BY THE MAQAM SCALE BROUGHT BY MALAY MUSLIM

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8
Q

TWO TYPES OF SCALE

A

-PENTATONIC SCLAE
-MAQAM SCALE

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9
Q

PENTATONIC SCALE

A

-CONSISTS OF FIVE TONES IN AN OCTAVE

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10
Q

MAQAM SCALE

A

CONSISTS OF MICROTONES

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11
Q

CHINESE TRADITIONAL SONGS

A

USES AHIGH PITCHED BUT THIN ANG NON RESONANT VOICE EITHER NASAL OR FASETTO
-MOSTLY MELODIC OR IN UNION
-PERFORMED SOLO

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12
Q

WHAT ARE TEH ARABIC NFLUENCES IN THE VOCAL MSIC AOF SOUTHEAST ASIA

A

-MELISMATIC
-MONOPHONIC MELODIES WITH LONG FLUID PHRASES IN A LIMITED RANGE
-USING STRAINED VOICE
-TREMOLOS
MOSTLY A CAPELLE

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13
Q

CHANTING RELIGIOUS/RELIGIOUS CHANT

A
  • TEXT AND EPICS IS COMMON IN THE ENTIRE REGION
    -LYRICS DEVELOPED FROM PEOMS VERSES AND RITUAL
    -SUCCEDING GENERATIONS ORALLY WITHOUT THE USE OF WRITING.
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14
Q

MELISMA

A

SINGING OF A SINGLE SYLLABLE OF TEXT WHILE MORNING BETWEEN SEVERAL DIFFERENT NOTES IN SUCCESSION

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15
Q

INDIGENOUS SONGS

A

A. TRADITIONAL SONGS
B.CHANT- RECITE SOMETHING, MONOTONOUS REPETITIVE TONE
-USED FOROM BIRTH CEREMONIES LULLABIES INITIATION RITES WEDDINGS HEALING THE SICK PRAYING TO GODS REPELLING EVIL SPIRIT AND PERFORMING DEATH RITUALS

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16
Q

CHANT

A

-USED AS A PREPARATION FOR BATTLES AND AFTER VICTORIES
-ACCOMPANIED BY DRUMS GONGS OR OTHER PERCUSSSION INSTRUMENTS

17
Q

AMBAHAN “LUKA”

A

-SET OF POETIC EXPRESSION WITH A MEASURED RHYME OF SEVEN-SYLLABLE LINES
-MONOPHOMIC CHANT OF THE MANGYAN

18
Q

VOCAL FORMS

A

IYAYA- ULLABIES
MARAYAW- SONGS TO COMMUNICATE WITH SPIRITS

IN PALAWAN- CUYUNUN TRIBE
ULIT-A SHAMANTIC CHANT
SANDAW- LULLABY
KOIRDA DI LA BORDON- A FUNERAL SONG

19
Q

BABYLAN

A

RELIGIOUS WHO COMMUNICATE WTH SPIRITS ARE ALSO KNOWN AS HEALER SHAMN AND SEER

20
Q

CHANTS

A

SHAMANISTICS TOOLS USED IN PERFORMING COMMUNITY MIRACLES IN SEA

21
Q

WORK SONG AND CHILDREN SONG

A

WORK SONG
-MAGTANIM AY DI BIRO
CHANTED GAMES
-SI NENE AY BATA PA
-LANGIT LUPA
-TAGU TAGUAN

21
Q

FAOLK SONGS

A
  • TRADITIONAL MUSIC ORIGINATING FROM DIFFERENT AREAS
    -ABOUT COMMON DAY-TO-DAY LIFE IN THE COMMUNITY
    -RANGING FROM THE NONSENSE LYRICS TO WORDS OF WISDOM
    -PASSED DOWN TO GENERATIONS
  • AUTHORS WERE USUALLY UNKNOWN
21
Q

FOLK

A

MEANS PEOPLE IN GENERAL

22
Q

SONGS ABOUT EPICS AND LEGENDS

A
  • SINGING WAS USED TO TELL STORIES ABOUT LEGENDS MYTHS AND FOLKTALES
    -PRACTICE AMONG THE INDIGENOUS PEOPLE OF SOUTHEAST ASIA
23
Q

MINDANAO;
DARAGEN RAJAH INDARAPATRA

A

THE SINGING STARTED AT NIGHT AND LASTED FOR SOME HOURS OR EVEN SEVERAL NIGHTS

24
Q

MARANAO

A

SONGS AND DANCES FURTHER SHOWED THEIR CUSTOMS AND TRADITION

25
Q

KAPELAWLAWD

A

-PORTRAYS THE CUSTOMER NEUTRALITY OF A MARANAO