Music of MIndanao (Islam and non-Islam).

ppt 1 k-12
1. 1. Music of Mindanao Music of Islamic Filipino Islamic Cultural Groups Badjao- Sulu
Ilanun Sulu, Tawi Tawi Jama Mapun- Sulu Maguindanao- Maguindanao, Cotabato, SK
Maranao Lanao, Bukidnon Samal- Sulu Tausug-Sulu Yakan- Basilan
2. 2. Characteristics of Islamic Music Melisma singing Song Phrases Narrow singing
Fluid singing Tremolo Strained Voice Nasal Enunciation
3. 3. Vocal Music Life Cycle Langan Bata Bata- Lullabye of Tausug. Tarasul- Tausug song of
advice to wedded couple. Dekir- death song of Maranao. Dekil- Maguindanao dirge in
vigil.
4. 4. Religious Chants Salathul Juma- Friday prayer chant Tarawe- chant during the Ramadan
Folk Epic Rajah Indarapatra- Maguindanao Darangen- Maranao
5. 5. Music of Non-Islam Filipino Non-Islam Cultural Groups Bagobo- Davao Gulf and Davao
Region Bilaan Davao Gulf Kalagan Davao Gulf Mandaya Davao Region
Mansaka Davao Region Manobo Bukidnon, Agusan Del Sur, Cotabato MatigsalugBukidnon Subanon- Zamboanga peninsula Tiruray- SOCCSARGEN Region, Tboli
South Cotabato
6. 6. Vocal Music Life Cycle Bua - Lullabye of Subanon. Uyug- Uyug Lullabye of Mansaka.
Yadadang- Lullabye of Bilaan Manambay- Chant on circumscision ritual of Subanon
Kambong- love incantation of Manobo
7. 7. Life Cycle Sinda-ay- Weddingchant sung before inviting the grooms party to enter the
brides house. Balow song for a dead husband of Matigsalug. Iring Iring- Manobo song
sung on wakes Ulag Ing- lament song of Manobo
8. 8. Occupational Song Gago Napu- song for either hunting or fishing of Subanon
Balatuking Manobo harvest song Ritual Song Diwata- for curing ceremony of Subanon
Pamasag- for victory celebration of Manobo Pangan Do- for thanksgiving of Manobo
9. 9. 1-6 Islamic Cultural Groups B___ I___ J___ M___ M_____ M____ S____
T_____ Y_____
10. 10. 7-14 Non-Islam Cultural Groups B___ B____ K____ M____ M____ M____
M____ S___ T___ T___
11. 11. Rearranged the scrambled letters to find the answer 15. nganla taba taba- Lullabye of
Tausug. 16. rasulta- Tausug song of advice to wedded couple. 17.kired- death song of
Maranao. 18.kdeil- Maguindanao dirge in vigil.
12. 12. 19. lasathul muja- Friday prayer chant 20.ratawe- chant during the Ramadan 21.jahra
daintrapa- Maguindanao 22.randagen- Maranao
13. 13. 23.abu- Lullabye of Subanon. 24.yugu- yugu Lullabye of Mansaka. 25.dadayangLullabye of Bilaan 26.nambamay- Chant on circumscision ritual of Subanon
14. 14. 27. nidsa-ya- Wedding chant sung before inviting the grooms party to enter the brides
house. 28.lobaw song for a dead husband of Matigsalug.
15. 15. 29.aggo puna- song for either hunting or fishing of Subanon 30..watadi- ritual song of
Subanon for curing ceremony.

16. 16. The Musical Instruments of Mindanao

17. 17. CHORDOPHONES (STRINGED INSTRUMENTS) A chordophone is any musical
instrument which makes sound by way of a vibrating string or strings stretched between
two points
18. 18. 02/16/15 TWO STRINGED-LUTE Mansaka-Binarig Bilaan-Faglong T'boli-Hagelong
or hegalong Mansaka -Kudlong Manobo - Kudlong, kdlung, kutyapi Maranao-Kutyapi
Bukidnon katyapi Subanen kutapi Tiruray -fegerong Ata kudlung
Bagobo kodlong Maguindanao- Kudyapi
19. 19. Kudyapi - is a guitar with two strings. It is about 1 1/2 m long and made of wood. It has a
stick to support in its lower end and is played in the same position as cello.
20. 20. 02/16/15 KUDLUNG
21. 21. side view Kudlung, top view Kudlung, the head with the handle for fine tuning Ethnic
group: B'laan Location: SE Mindanao (christian / animist part) Classification Chordophone,
two stringed boat lute
22. 22. Saluroy- is a bamboo polychordal tube zither of Bagobo .It is called as kolitong in
Cordillera region.
23. 23. Aduwag-ay -one -stringed fiddle instrument of Bilaans also called Kugot (AgusanManobo) and Duwagey (T'boli)
24. 24. AEROPHONES (WIND INSTRUMENTS) is any musical instrument which produces
sound primarily by causing a body of air to vibratewithout the use of strings or
membranesand without the vibration of the instrument itself adding considerably to the
sound.
25. 25. Sahunay - is a bamboo flute, leaving six holes for the fingers and trumpet made of
coconut leaf. It is about 50 cm long and 3 cm in diameter. This is a bamboo flute of the
Tausugs in Sulu.
26. 26. Palendag- A lip-valley flute, it is considered the toughest of the three bamboo flutes (the
others being the tumpong and the suling) to use because of the way one must shape one's
lips against its tip to make a sound.The construction of the mouthpiece is such that the lower
end is cut diagonally to accommodate the lower lip and the second diagonal cut is make for
the blowing edge. is a type of Philippine bamboo flute, the largest one used by the
Maguindanaon, a smaller type of this instrument is called the Hulakteb (Bukidnon). Other
names: Bunabon- Mandaya Hlandag- Tboli Palundag- Bilaan Tanggab and Tulali- Subanon
Pulalu Manobo and Mansaka Palandag- Bagobo Pulala- Bukidnon
27. 27. Suling- ring flute of Bilaan and Tiruray, Maguindanao, Samal, Tausug and Yakan -is the
smallest bamboo flute of the Maguindanaon and the only one classified as a ring-flute (the
other two bamboo flutes of the Maguindanaon, the tumpong and the palendag are both lipvalley flutes). Other names for the suling include: Lantey (Ata), Kinsi (Bukidnon), Dagoyong
(Higanon) Babarak (Palawan)
28. 28. IDIOPHONES (PERCUSSION INSTRUMENTS) An idiophone is any musical
instrument which creates sound primarily by way of the instrument's vibrating, without the
use of strings or membranes Most percussion instruments which are not drums are
idiophones.

29. 29. Kulintang is a term with various meanings, all related to the melody-playing gong row.
Technically, the term kulintang is the Maguindanao word for eight gong kettles which are laid
horizontally upon a rack creating an entire kulintang set called apasangan. This idiophone
functions as a lead/central melodic instrument for the entire ensemble. Other names:
Kulintang - Bilaan, Subanon, Maguindanao, Maranao, Samal, and Jama Klintang- Tboli
Kwintangan- Yakan
30. 30. Kulintang- is a set of eight knobbed gongs in graduated sizes from largest to smallest
mounted in a wooden frame, about a meter long. Muslim carvings decorated the frame. The
kulintang is played by striking the gongs with two pieces of wood, about 12 inches long while
the player squats on the floor. The instruments is popular in Sulu.
31. 31. Gabbang - is similar to a xylophone. It is made of wooden box with one end wider than
the other, and with an open top. Across top, wooden bars of different lengths are placed to fit
the shape of the box, about 1 cm from each other. It is played by striking the wooden bars
with a wooden hammer. This instruments is popular in Sulu.
32. 32. Front view Top view The two beaters Gabbang Description Xylophone with 17 keys made
of bamboo, separated by metal nails. The resonating case is dcorated with floral motives. At
the sides are two mirrors. The beaters are made of wood with a piece of tube rubber
Dimensions: length: 102 cm., width: 51 cm. height: 37 cm.
33. 33. The Gabbang can be played as a solo instrument. Sometimes a duo is formed with a
'biula', a local violin. A Taosug woman plays the gabbang. The resonating case, decorated
with floral motives
34. 34. Gandingan a Kayo (translated means, wooden gandingan, or gandingan made of
wood) is a Philippine xylophone and considered the wooden version of the real gandingan.
This instrument is a relatively new instrument coming of age due to the increasing popularity
of the wooden kulintang ensemble,
35. 35. Kulintang a Kayo This is a wooden xylophone of the Maguindanao people.
36. 36. Kulintang a Kayo (literally, wooden kulintang) is a Philippine xylophone of the
Maguindanaon people with eight tuned slabs arranged horizontally atop a wooden antangan
(rack). Made of soft wood such as bayug, the kulintang a kayo is a common found among
Maguindanaon households with a musical background. Traditionally, it was used for selfentertainment purpose inside the house, so beginners could practice kulintang pieces before
performing them on the real kulintang and only recently have they been performed as part of
a wooden kulintang ensemble.
37. 37. Agung is a set a two wide rimmed bossed- gongs hangs from horizontal pole or
wooden frame. It is used by the Maguindanao, Maranao, Samal- Bajau and Tausug people of
the Philippines
38. 38. The larger, lower pitched gong of the two is called the pangandungan by the
Maguindanao and the p'nanggisa-an by the Maranao. Played on the musician's right, it
provides the main part, which it predominantly played on the accents of the rhythmic
structure. The smaller, higher pitched gong, the thicker of the two, is called the panentekan
by the Maguindanao and the p'malsan or pumalsan by the Maranao.
39. 39. The agung is usually performed while standing beside the instrument, holding the upper
edge of its flange between the thumb and other fingers with the left hand while striking the

40.

41.

42.

43.

44.

45.
46.

47.

knob with the right hand. The mallets, called balu, are made from short sticks about half a
foot in length and padded with soft but tough material such as rubber at one end.
40. Gandingan - is a set of four small narrow- rimmed and suspended gongs. They hang in
pairs with the knobs of the lower pitched gongs facing each other. The same with the two
higher pitched gongs. The pair of lower pitched gongs is positioned on the player's left side
while the pair of the higher pitched gongs is on the right. The player usually a woman who
stands between the two pair of gongs. Her body touches slightly the gong in the middle to
prevent from swinging. She uses two padded mallets
41. Gandingan When integrated into the ensemble, it functions as a secondary melodic
instrument after the main melodic instrument, the kulintang. When played solo, the
gandingan allows fellow Maguindanao to communicate with each other, allowing them to
send messages or warnings via long distances. This abilityto imitate tones of the
Maguindanaolanguage using this instrument has given the gandingan connotation: the
talking gongs.
42. Babandil- is a single, narrow- rimmed Philippine gong used primarily as the timekeeper
of the Maguindanao kulintang ensemble. Also called: Babendir- (Maguindanao) Babandir (Maranao), Babandir - (Tagbanwa, Batak, Palawan), Banendir and Tungtung,- (Tausug),
Salimbal - (Samal) Mapindil - (Yakan Bubundi- Mansaka
43. Babandil It is struck with thin bamboo sticks to produce a metallic sound. There are three
ways to play the babendil. 1. by striking the rim of the suspended gong with a pair of sticks
on the left hand. 2. by striking the gong's rim with the right hand using one stick while the left
hand grasps the rim. 3. by laying the instruments upside and striking the gong's rim with the
two sticks.
44. Kagul is a type of Philippine bamboo scraper gong/slit drum of the Maguindanaon and
Visayans with a jagged edge on one side, played with two beaters, one scarping the jagged
edge and the other one making a beat. The Maguindanaon and the Banuwaen use it in the
rice paddies to guard against voracious birds, using the sound it produces to scare them
away.The Maguindanaon and theBukidnon also use it for simple dance rhythms during social
occasions. It is also called: Garakot ( Maranao) Tagutok (Yakan) Bantula or Tagungtung
(Bukidnon)
45. Tagutok/ Kagul
46. Kulintang a Tiniok is a type of Philippine metallophone with eight tuned knobbed metal
plates strung together via string atop a wooden antangan (rack). Kulintang a tiniok is a
Maguindanaon term meaning kulintang with string but they also could call them kulintang a
putao, meaning kulintang of metal. The Maranao refer to this instrument as a sarunay (or
salunay, salonay, saronay, saronai, sarunai), terminology which has become popular for this
instrument in America.
47. Kubing it is a bamboo jaw harp of Tiruray. These have become one of the most popular
jaw harps internationally due to their highly responsive sound and ornate designs. In the
hands of a good player the kubing is capable of a vast number of sounds and timbres. This
kubing was collected in Manila in 1987. Other names: Kumbing Bagobo Lideng- Bilaan
Kobing- Maranao and Samal Kulaing Tausug and Yakan

48. 48. Kubing Ethnic group: Atta Location: SE Mindanao Classification: Idiophone, jaw harp
Description Made of bamboo; Made of bamboo; the instrument is held horizontally with the
bamboo tongue in front of the opened mouth. The left end is hit by the thumb of the right
hand. This makes the bamboo tongue vibrate which causes a sound. The mouth serves as a
resonator and by changing the shape and size of the mouth opening, the overtones can be
changed, thus creating a melody. By strongly breathing in or out the volume can be changed
as well. Dimensions: length: 20,8 cm., width: 1 cm. Quintik Ofong plays the kubing (T'boli)
49. 49. MEMBRANOPHONES (DRUM INSTRUMENTS)
50. 50. Dabakan - is a goblet -shaped drum of Maguindanao and Maranao, which has a single
head covered with goat, lizard or snakeskin. It is struck withtwo thin bamboo sticks about 18
inches in length.
51. 51. Dadabuan Ethnic group: Maranao Location: West central Mindanao (muslim south)
Classification Membranophone, hour glass shaped drum Description Hour glass shaped
drum made of wood; the membrane is made of carabao skin. Decorated with carvings and
painted. The drum is part of the Kulintang ensemble. Dimensions: height: 59 cm. diameter
(membrane): 19 cm.
52. 52. Gandang - is a two-headed cylindrical drum of Tausug, Samal, Badjao, Maranao and
Maguindanao. Called as Kendang in other South East Asian countries. It is one of the
primary instruments used in the Gamelan ensembles ofJava, Bali and Terengganu.
53. 53. Gandang
54. 54. Ensemble small groups of instrument played simultaneously.
55. 55. Pala Buni Bunyan- Maguindanao ensemble consisted of five instruments the kulintang,
agung, gandingan, dabakan and babendil/ babandir
56. 56. The complete ensemble Kulintang ensemble
57. 57. Tagunggo Yakan ensemble is made up of brass kwintangan, gabbang, set of 3 agung
and bamboo slit drum called Tagutok.
58. 58. I. Identify the instrument.Rearrange the scrambled letters to find the answer:
59. 59. 1. anggand - is a two-headed cylindrical drum of Tausug, Samal, Badjao, Maranao and
Maguindanao.
60. 60. 2. atutgok- is a type of Philippine bamboo scraper or bamboo slit drum
61. 61. 3.dabanbil- is a single, narrow- rimmed Philippine gong used primarily as the
timekeeper of the Maguindanao kulintang ensemble.
62. 62. 4. nadgingan - is a set of four small narrow- rimmed and suspended gongs usually
played by a woman.
63. 63. 5.ganug is a set a two wide rimmed bossed-gongs hangs from horizontal pole or
wooden frame.
64. 64. 6. lintakngu a yoka (literally, wooden kulintang) is a Philippine xylophone of the
Maguindanaon people with eight tuned slabs arranged horizontally atop a wooden rack
65. 65. 7. ndinagdan a yoka (translated means, wooden gandingan, or gandingan made of
wood) is a Philippine xylophone and considered the wooden version of the real gandingan.
66. 66. 8.bagbang is a wooden xylophone
67. 67. 9.lintakngu- is a set of eight knobbed gongs in graduated sizes from largest to smallest
mounted in a wooden frame.

68.
69.
70.
71.
72.

68. 10.lisngu- ring flute of Bilaan and Tiruray, Maguindanao, Samal, Tausug and Yakan
69. 11.alpandagu- A lip-valley flute, of Bilaan.
70. 12.ugkot -one -stringed fiddle instrument of Agusan- Manobo
71. 13.duyakpi - is a guitar with two strings shaped like a boat.
72. 14.luroyas- is a bamboo polychordal tube zither of Bagobo .It is called as kolitong in
Cordillera region.
73. 73. 15.binguk it is a bamboo jaw harp of Tiruray.

Music is another important part of the culture. However, it should be noted that there is a distinction
between music for rituals, which is basically vocal without instruments, and music for entertainment.
Kulintang (brass gongs), kagandang (war drums), ceremonial dances andkambaioka (singers or chanters
of improvised poetic compositions) are played on various occasions. The gabbang is similar to a
xylophone, while suling and saunay are wind instruments. The biyula is a string instrument, and
the kulintangan is an ensemble of gongs and drums. Thekudyapi is a two-stringed lute plucked to make
beautiful sounds. Thekubing (jews harp) is made of bamboo and believed to make words and tell stories,
if the audience could understand the language of music.
Moro musicality is also seen in songs and dances. For the Tausug, there are songs called kissa which tell
about the love of datus and princesses, while heroic songs are contained in parang sibil. The
Maranao kandidiagaois a melodious lament over the dead.
There are five major types of songs for the Maranao. The kambaiok is the free rhythmic rendering of
the baiok, which is improvised poetry.Kandarangen is accompanied by a gong or other similar
instruments.Kadikir is sung by singers in slow, free rhythm and speaks of verses from the Quran and
Maranao compositions with topics on Islam, morals, life, and death. Kandomana is a combination of
styles of Kandarangen andKadikir. Lastly, kapranon is a song of private sentimentality sung softly

Module 9 mindanao vocal music

1. 1. MUSIC LEARNING MODULES 9-10: Selected Vocal Music of MindanaoI TARGET
GRADE LEVEL: Grade 7II MODULES 1: Music of MindanaoIII TIME ALLOTMENT: 2
HoursIV OVERVIEW OF THE MODULE The module is about selected vocal music from
Mindanao. The analysis of the music isdone using musical mapping as well as socio-cultural
influences on the music. An application ofthe lesson involves singing familiar folk songs from
Mindanao with appropriate expression, toneand style that is reflective of the function of the
music.V PERFORMANCE STANDARD Analyzes musical elements and processes of
Philippine music. Correlates Philippine music to Philippine culture. Performs examples of
Philippine music, alone and with others, in appropriate tone, pitch, rhythm, expression and

style.VI COMPETENCIES/OBJECTIVES Analyzes an example of Philippine folk music from

Mindanao and describe how the musical elements are used. Explains the distinguishing
characteristics of representative Philippine folk music from Mindanao in relation to history
and culture of the area. Analyzes the relationship of functions of Philippine music from
Mindanao to the lives of the people. Sings accurately representative folk songs from
Mindanao alone and / or with others. Improvises simple rhythmic / harmonic
accompaniments to selected Philippine folk music from Mindanao. Evaluates music and
music performances applying knowledge of musical elements and style.VII
CONTENT/TOPIC : Vocal Music of Mindanao Vocal Music: Epic: Darangen (Maranao);
Lullabye: angan bata-bata (Tausug); Love and Courtship: Batac inanen, estijaro (Tagacaolo),
bandayuy ( Matigsalog), antang (Manobo, for match-making) and sindaay, tarasul (Tausug);
Entertainment songs: dangdang-ay, bayok (Mandaya), and the limbay (Manobo)
2. 2. Cultural Context (History and Traditions): Functional Songs, Epics, Ritual Songs
Social Functions: Ritual Music, Lullabies, Music for work, Music for entertainment
Performance Styles / Techniques: Melismatic, Syllabic SingingVIII RESOURCESReadings
and Resources:Dioquino, Corazon C. Indigenous Music of the
Philippines.http://www.ncca.gov.ph/about-culture-and-arts/articles-on-c-n-a/article.php?
igm=1&i=158Interactive Map of the Philippines and Major Ethnic
Groups:http://www.kipas.nl/Groups.htmMaceda, Jose. The Music of the Maguindanao of the
Philippines.http://media.smithsonianfolkways.org/liner_notes/folkways/FW04536.pdfSantos,
Ramon P. Traditional Forms of Music.http://www.ncca.gov.ph/about-culture-and-arts/articleson-c-n-a/article.php?igm=1&i=161Recordings / Videos:Darangen epic
UNESCO:http://www.unesco.org/culture/ich/index.php?
lg=en&pg=00011&RL=00159#videoCalasiao singing pokpok alimpako
:http://www.youtube.com/watch?v=ePSdnktzO-gZamboanga chavacano songs No Te
Vayas and Zamboanga
Hermosa:http://www.zamboanga.net/Song&MusicofZamboanga.htmHans Brandeis Videos
on the Music of Mindanao:http://user.cs.tuberlin.de/~brandeis/Videos_MindanaoLumad.htmlIX ACTIVITIESEXPLORING MINDANAO:
Using the interactive map from http://www.kipas.nl/Groups.htm#,can you find the some major
ethnic groups? List down at least three ethnic groups.The culture of Mindanao is as colorful
as the geography and the peoples who live in Mindanao.Before learning the music, let us find
out what you already know.
3. 3. K-W-L Chart: Write what you currently know about the music of Mindanao under column 1
andwhat you want to know about the music of Mindanao under column 2.Music of Mindanao
What I want to What I Know What Ive learned KnowGUIDED LISTENING:Listen to examples
of vocal music from Mindanao from the resources segment. Reflect on:a. What is the
function of the music? What do you think is the message of the music?b. How were the
varied musical elements (timbre, dynamics, rhythm, pitch, form) used inbringing about the
message of the music?MUSICAL MAPPING: This time, let us watch/listen once more to the
musical examples and tryto map out using lines/graphic notation what you hear. You may
focus on a particular musicalelement as you listen (vocal tone, melodic line, rhythm of the
song, thick or thin texture of themusic). Write your map on the boxes below. You may add

additional boxes per song. Darangen Pok-Pok Alimpako No Te VayasRead the paragraph
about the vocal music of Mindanao by Maceda, Dioquino, Santos, Brandeis.Using the
reading as well as the videos you have watched, complete what you have understoodabout
the vocal music of Mindanao by filling up the concept map.
4. 4. Socio- Musical historical Forms Context Vocal Music of Mindanao Performance Musical
Techniques ContextAPPLICATION: In groups of 10 per group, study some of the songs from
Mindanao using thevideo resources (UNESCO, Brandeis, etc). Pay particular attention to the
function of the songand how the song is performed in the socio-cultural setting. Be ready to
perform the song inclass next meeting.X ASSESSMENTRubrics for Performance Basic
Unfocused tone, erratic rhythm, unstable pitch, inconsistent phrasing, dynamics and shows
insensitivity to style and context Developing: Focused tone but inconsistent in extreme range,
some repeated errors in rhythm and pitch, consistent phrasing, discernible dynamics, some
nuances in style as suggested by the score/teacher. Approaching Proficiency: Focused and
clear tone in normal range, accurate rhythm and secure pitch with isolated errors, accurate
and consistent phrasing, accurate dynamics, with some nuances in style as suggested by the
score/teacher. Proficient: Focused, clear tone all throughout, accurate rhythm and secure
pitch, consistent and sensitive phrasing and obvious dynamics, with creative nuances to style
in response to music score.XI SYNTHESIS The vocal music of Mindanao is a reflection of
the natural and spiritual life of the variouspeople in the area: Lumad, Christian, Muslim
Filipinos. Its many forms show the creativeexpressions that Filipinos use in order to express
the emotions, events and word view.
5. 5. MUSIC LEARNING MODULES 1-2: Selected Vocal Music of MindanaoI TARGET GRADE
LEVEL: Grade 7II MODULES 1: Music of MindanaoIII TIME ALLOTMENT: 2 HoursIV
OVERVIEW OF THE MODULE The module is about some selected vocal music from
Mindanao. The analysis of themusic is done using musical mapping as well as socio-cultural
influences on the music. Anapplication of the lesson involves singing familiar folk songs from
Mindanao with appropriateexpression, tone and style that is reflective of the function of the
music.V PERFORMANCE STANDARD Analyzes musical elements and processes of
Philippine music. Correlates Philippine music to Philippine culture. Performs examples of
Philippine music, alone and with others, in appropriate tone, pitch, rhythm, expression and
style.VI COMPETENCIES/OBJECTIVES Analyzes an example of Philippine folk music from
Mindanao and describe how the musical elements are used. Explains the distinguishing
characteristics of representative Philippine folk music from Mindanao in relation to history
and culture of the area. Analyzes the relationship of functions of Philippine music from
Mindanao to the lives of the people. Sings accurately representative folk songs from
Mindanao alone and / or with others. Improvises simple rhythmic / harmonic
accompaniments to selected Philippine folk music from Mindanao. Evaluates music and
music performances applying knowledge of musical elements and style.VII
CONTENT/TOPIC : Vocal Music of Mindanao Vocal Music: Epic: Darangen (Maranao);
Lullabye: angan bata-bata (Tausug); Love and Courtship: Batac inanen, estijaro (Tagacaolo),
bandayuy ( Matigsalog), antang (Manobo, for match-making) and sindaay, tarasul (Tausug);
Entertainment songs: dangdang-ay, bayok (Mandaya), and limbay (Manobo)

6. 6. Cultural Context (History and Traditions): Functional Songs, Epics, Ritual Songs Social
Functions: Ritual Music, Lullabies, Music for work, Music for entertainment Performance
Styles / Techniques: Melismatic, Syllabic Singing a. CONCEPT MAP Nature Epics
Interaction among Love and Courtship groups Entertainment songs Spirituality Work
and Lullabies Socio- Ritual Songs historical Musical Context Forms Vocal Music of
Mindanao Performance Musical Techniques Context Melismatic Music in Syllabic Ritual
Improvisation Creativity b. ACTIVITIES & STEPS/ PROCEDURE1. Have the students
explore the ethnic groups in Mindanao using the interactive map from kipas. List down at
least three groups.2. Ask the students to do a K-W-L chart of the music of Mindanao.3.
Watch/Listen to vocal examples from the resources segment. Discuss their answers to the
guide questions.4. Watch videos of the said vocal examples but this time, have the students
map out what they hear using the musical map per song.5. Group the students into ten per
group. Have them read the articles on the vocal music of Mindanao by Maceda, Dioquino,
Santos or Brandeis. As a group, complete the concept map using information and insights
understood from the readings. Discuss the students answers to the guide questions. The
music may be played once more after all the questions have been answered.
7. 7. 6. Group Singing: With their existing groups, have the students select one song from the
resource videos (UNESCO, Brandeis, etc.) and to study the song in terms of its musical and
socio-cultural characteristics. Give time for practice. 7. Remind the students of the rubrics for
performance. Have the students perform their interpretation of any vocal excerpt from
Mindanao.VIII SUMMATIVE ASSESSMENT Rubrics for Performance Basic Unfocused
tone, erratic rhythm, unstable pitch, inconsistent phrasing, dynamics and shows insensitivity
to style and context Developing: Focused tone but inconsistent in extreme range, some
repeated errors in rhythm and pitch, consistent phrasing, discernible dynamics, some
nuances in style as suggested by the score/teacher. Approaching Proficiency: Focused and
clear tone in normal range, accurate rhythm and secure pitch with isolated errors, accurate
and consistent phrasing, accurate dynamics, with some nuances in style as suggested by the
score/teacher. Proficient: Focused, clear tone all throughout, accurate rhythm and secure
pitch, consistent and sensitive phrasing and obvious dynamics, with creative nuances to style
in response to music score.IX RESOURCES: READING & LISTENING MATERIALS
REFERENCES/LINKS IN WEBSITEReadings and Resources:Dioquino, Corazon C.
Indigenous Music of the Philippines.http://www.ncca.gov.ph/about-culture-and-arts/articleson-c-n-a/article.php?igm=1&i=158Interactive Map of the Philippines and Major Ethnic
Groups:http://www.kipas.nl/Groups.htmMaceda, Jose. The Music of the Maguindanao of the
Philippines.http://media.smithsonianfolkways.org/liner_notes/folkways/FW04536.pdfSantos,
Ramon P. Traditional Forms of Music.http://www.ncca.gov.ph/about-culture-and-arts/articleson-c-n-a/article.php?igm=1&i=161Recordings / Videos:Darangen epic
UNESCO:http://www.unesco.org/culture/ich/index.php?lg=en&pg=00011&RL=00159#video
8. 8. Calasiao singing pokpok alimpako :http://www.youtube.com/watch?v=ePSdnktzOgZamboanga chavacano songs No Te Vayas and Zamboanga
Hermosa:http://www.zamboanga.net/Song&MusicofZamboanga.htmHans Brandeis Videos
on the Music of Mindanao:http://user.cs.tuberlin.de/~brandeis/Videos_MindanaoLumad.htmlX GLOSSARY OF MUSIC TERMS &

SYMBOLSEpic: Darangen (Maranao)Lullabye: angan bata-bata (Tausug)Love and

Courtship: Batac inanen, estijaro (Tagacaolo), bandayuy ( Matigsalog), antang(Manobo, for
match-making) and sindaay, tarasul (Tausug)Entertainment songs: dangdang-ay, bayok
(Mandaya), and limbay (Manobo)

umad, a Bisayan word for native or indigenous, refers to non-Christian and non-Muslim indigenous
groups in Mindanao. In general, lumad music encompasses a wide repertoire of sounds performed for
various occasions, and makes use of an extensive array of musical instruments, including the agong,
the most widely distributed brass instrument among the Mindanao lumad.
The biggest group of lumad is the Subanen (Subanon, Subanun) of Zamboanga del Norte and
Zamboanga del Sur. Their vocal music is characterized by chants and different types of songs such as
the dionli (love song), buwa (lullaby), and giloy(funeral song), among others. Their musical
instruments include the gagong, kolintang, and durugan.
The Manobo (Manuvu, Minuvu) inhabit core areas from Sarangani island and the provinces of Agusan
del Sur, Davao provinces, Bukidnon, and North and South Cotabato. The Manobo are probably the
most numerous of the ethnic groups of the Philippines in terms of the relationships and names of the
various groups that belong to this family of languages. (NCCA) Their vocal music types include ritual
songs, narrative songs, lullabies, and songs of nature, that may also be accompanied by rhythmic
sounds from the singers armpit.
The Tboli, the indigenous people of South Cotabato, perform various songs for different occasions and
sentiments, like weddings and fishing, and when they are joyful or sad. Their music reflects their
closeness to nature through the imitation of natural sounds. Among their several musical instruments
is the hagalong, a long slender spindle-shaped two-string guitar.
The Tiruray, the traditional hill people of southwestern Mindanao, also have a wide range of songs like
the balikata(melodic pattern for debates, converstions), lendugan (love song), siasid (prayer), foto
moto (teasing song during weddings), and meka meka (song of loyalty by a wife to her husband).
They are among those with the most developed agung ensembles.
The Mansaka from the provinces of Davao del Norte and Compostella Valley, are among the most
dominant ethnic group in Compostella Valley province. Among their wide array of musical instruments
is the gimbal, a drum made of bahi or betel nut and animal hide (doeskin and male deerskin). Their
musical forms include the saliadawhich is similar to ballad, and bayok on love and adventure.
The Blaan (Bilaan) of Davao del Sur also have a wide range of instruments such as idiophones
(percussions), zithers (bamboo tubes with strings), chordophones (wooden lutes), and aerophones
(flutes and reeds). They also make use of the tangungo, a set of 8 metal gongs hung on a harness.
Music from these instruments accompanies their ritual sand dances.
The Bagobo are among the largest groups of indigenous peoples of southern Mindanao, inhabiting
areas from the west coast of Davao Gulf to Davaos well-known mountain ranges of Mt. Apo. Their
music forms part of their religious and festive occasions as well as daily activities, which include advice
songs, childrens songs and lullabies, among others. Their musical instruments bolangbolang and pagakpak are related to agriculture as their design and sound are meant to please gods,
to reward them with bountiful harvests.

Other lumad groups in Mindanao include

the Higaonon, Banwaon, Talaandig, Ubo, Tagakaolo, Dibabawon, andManguangan.

What Is Mental Health?

Mental health includes our emotional, psychological, and social well-being. It affects how we think, feel, and
act. It also helps determine how we handle stress, relate to others, and make choices. Mental health is
important at every stage of life, from childhood and adolescence through adulthood.
Over the course of your life, if you experience mental health problems, your thinking, mood, and behavior
could be affected. Many factors contribute to mental health problems, including:

Biological factors, such as genes or brain chemistry

Life experiences, such as trauma or abuse

Family history of mental health problems

Mental health problems are common but help is available. People with mental health problems can get
better and many recover completely.

Early Warning Signs

Not sure if you or someone you know is living with mental health problems? Experiencing one or more of
the following feelings or behaviors can be an early warning sign of a problem:

Eating or sleeping too much or too little

Pulling away from people and usual activities

Having low or no energy

Feeling numb or like nothing matters

Having unexplained aches and pains

Feeling helpless or hopeless

Smoking, drinking, or using drugs more than usual

Feeling unusually confused, forgetful, on edge, angry, upset, worried, or scared

Yelling or fighting with family and friends

Experiencing severe mood swings that cause problems in relationships

Having persistent thoughts and memories you cant get out of your head

Hearing voices or believing things that are not true

Thinking of harming yourself or others

Inability to perform daily tasks like taking care of your kids or getting to work or school
Learn more about specific mental health problems and where to find help.

Mental Health and Wellness

Positive mental health allows people to:

Realize their full potential

Cope with the stresses of life

Work productively

Make meaningful contributions to their communities

Ways to maintain positive mental health include:

Getting professional help if you need it

Connecting with others

Staying positive

Getting physically active

Helping others

Getting enough sleep

Developing coping skills

http://www.mentalhealth.gov/basics/what-is-mental-health/

Types Of Stressors (Eustress Vs. Distress)

HARRY MILLS, PH.D., NATALIE REISS, PH.D. AND MARK DOMBECK, PH.D. JUN 30, 2008

We mentioned it earlier and it bears repeating: stress is not always a bad thing. Stress
is simply the body's response to changes that create taxing demands. The previously

mentioned Dr. Lazarus (building on Dr. Selye's work) suggested that there is a
difference between eustress, which is a term for positive stress, and distress, which
refers to negative stress. In daily life, we often use the term "stress" to describe
negative situations. This leads many people to believe that all stress is bad for you,
which is not true. Eustress, or positive stress, has the following characteristics:
Motivates, focuses energy
Is short-term
Is perceived as within our coping abilities
Feels exciting
Improves performance
In contrast, Distress, or negative stress, has the following characteristics:
Causes anxiety or concern
Can be short- or long-term
Is perceived as outside of our coping abilities
Feels unpleasant
Decreases performance
Can lead to mental and physical problems
It is somewhat hard to categorize stressors into objective lists of those that cause
eustress and those that cause distress, because different people will have different
reactions to particular situations. However, by generalizing, we can compile a list of
stressors that are typically experienced as negative or positive to most people, most of
the time.
Examples of negative personal stressors include:

The death of a spouse

Filing for divorce
Losing contact with loved ones
The death of a family member
Hospitalization (oneself or a family member)
Injury or illness (oneself or a family member)
Being abused or neglected
Separation from a spouse or committed relationship partner
Conflict in interpersonal relationships
Bankruptcy/Money Problems
Unemployment
Sleep problems
Children's problems at school
Legal problems
Examples of positive personal stressors include:
Receiving a promotion or raise at work

Starting a new job

Marriage
Buying a home
Having a child
Moving
Taking a vacation
Holiday seasons
Retiring
Taking educational classes or learning a new hobby
Work and employment concerns such as those listed below are also frequent causes of
distress:

Excessive job demands

Job insecurity
Conflicts with teammates and supervisors
Inadequate authority necessary to carry out tasks
Lack of training necessary to do the job
Making presentations in front of colleagues or clients
Unproductive and time-consuming meetings
Commuting and travel schedules
Stressors are not always limited to situations where some external situation is creating a
problem. Internal events such as feelings and thoughts and habitual behaviors can also
cause negative stress.
Common internally caused sources of distress include:

Fears: (e.g., fears of flying, heights, public speaking, chatting with strangers at a
party)

Repetitive Thought Patterns:

Worrying about future events (e.g., waiting for medical test results or job
restructuring)
Unrealistic, perfectionist expectations
Habitual behavior patterns that can lead to stress include:
Overscheduling
Failing to be assertive
Procrastination and/or failing to plan ahead
https://www.mentalhelp.net/articles/types-of-stressors-eustress-vs-distress/

Causes of Stress in Teenagers

Last Updated: Jan 27, 2015 | By Drea Christopher

Encourage teens to talk about pressures that

cause them stress and anxiety.Photo Credit Thinkstock/Stockbyte/Getty Images

Overview
Teenagers often feel stress due to academic, family or social pressures, and the Teens Health website encourages
parents to watch for signs of more serious, stress-related concerns. Find ways to reduce the factors that are worrying
your teen and look for symptoms of stress overload, says Teen Health, such as physical ailments, changes in
sleeping patterns, panic attacks or depression.

School Pressure
Teenagers often feel stressed about academic and extracurricular demands, according to the American Academy of
Child and Adolescent Psychiatry. Students feel pressure to complete daily classwork and homework assignments,
finish projects and study for exams. In addition to the quest for good grades, teens may also participate in
extracurricular activities, such as sports, student council, cheerleading and clubs. The added pastimes may contribute
to teenage stress and anxiety if the activities are competitive and require scheduling that cuts into study and
relaxation time. Be mindful of your teen's academic and recreational obligations to ensure she's not taking on too
many responsibilities.

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Peer Pressure

The American Academy of Pediatrics considers peer pressure a teenage stress factor. Although your teen may have a
solid group of friends, her peers may pressure her to hang out in lieu of studying, break ties with former friends that
the core group doesnt consider cool or experiment with drugs, alcohol or sexual activities that go against her
morals or family rules. Peer pressure, bullying on campus and harrassment through phone calls, text messages and
email may distract your teen from studying, leading her to feel additional stress and anxiety.

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Family Problems
Teenagers can also feel stress at home because of family pressures and problems. If you have recently gone through
a divorce, experienced economic hardship that affected your teen's quality of life or found new living arrangements
that reduce her privacy, consider how this may impact your teen's stress levels. Arguments with siblings,
disagreements with parents over rules and expectations and the need to consistently care for younger siblings may
also contribute to teen stress.

Sense of Loss
Teens may also feel stress and anxiety when experiencing a sense of loss. In addition to dealing with the health
problems or the death of a friend or family member, loss can mean the end of a relationship, friendship or
cherished extracurricular activity. Breaking up with a boyfriend or best friend, for example, may lead your daughter
to doubt her self-worth or feel anxious about attending school or social functions because of her change in social
status. If your teen has experienced a loss, speak with her about her experience and offer to minimize her stress by
providing a listening ear and giving her extra attention.

Self-Doubt
As teenagers attempt to navigate through the school social hierarchy, they may feel self-doubt if they dont achieve a
certain level of popularity. Although your teen may express a sense of despair about her appearance, lack of dates or
social status, the Help Guide website recommends watching for signs of extreme self-worthlessness that may
indicate depression. Seek help from a mental health professional if you notice prolonged sadness, a withdrawal from
family, friends and favorite activities, lack of energy and motivation or mentions of suicide or death.
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Wie soll es weitergehen?

http://www.livestrong.com/article/134259-causes-stress-teenagers/

Stress Management
How to Reduce, Prevent, and Cope with Stress

You may feel theres nothing you can do about stress. The bills wont stop coming, there will
never be more hours in the day, and your work and family responsibilities will always be
demanding. But you have more control over stress than you might think. Stress management is
all about taking charge: of your lifestyle, thoughts, emotions, and the way you deal with
problems. No matter how stressful your life seems, there are steps you can take to relieve the
pressure and regain control.

What is stress management?

We all respond to stress differently so, theres no one size fits all solution to managing stress.
But if you feel like the stress in your life is out of control, its time to take action. Stress
management can teach you healthier ways to cope with stress, help you reduce its harmful
effects, and prevent stress from spiraling out of control again in the future.
No matter how powerless you may feel in the face of stress, you still have control over your
lifestyle, thoughts, emotions, and the way you deal with problems. Stress management involves
changing the stressful situation when you can, changing your reaction when you cant, taking
care of yourself, and making time for rest and relaxation. The first step is to recognize the true
sources of stress in your life.

What are the sources of stress in your life?

Start a stress journal
A stress journal can help you identify the regular stressors in your life and the way you deal with them. Each time you feel
stressed, keep track of it in your journal. As you keep a daily log, you will begin to see patterns and common themes. Write
down:
What caused your stress (make a guess if youre unsure)
How you felt, both physically and emotionally
How you acted in response

 What you did to make yourself feel better

Its easy to identify sources of stress following a major life event such as changing jobs, moving
home, or losing a loved one, but pinpointing the sources of everyday stress can be more
complicated. Its all too easy to overlook your own thoughts, feelings, and behaviors that
contribute to your stress levels. Sure, you may know that youre constantly worried about work
deadlines, but maybe its your procrastination, rather than the actual job demands, that is causing
the stress.
To identify your true sources of stress, look closely at your habits, attitude, and excuses:

Do you explain away stress as temporary (I just have a million things going on right
now) even though you cant remember the last time you took a breather?

Do you define stress as an integral part of your work or home life (Things are always
crazy around here) or as a part of your personality (I have a lot of nervous energy,
thats all)?

Do you blame your stress on other people or outside events, or view it as entirely normal
and unexceptional?

Until you accept responsibility for the role you play in creating or maintaining it, your stress
level will remain outside your control.

How do you currently cope with stress?

Think about the ways you currently manage and cope with stress in your life. Your stress journal
can help you identify them. Are your coping strategies healthy or unhealthy, helpful or
unproductive? Unfortunately, many people cope with stress in ways that compound the problem.
Unhealthy ways of coping with stress

These coping strategies may temporarily reduce stress, but they cause more damage in the long
run:

Smoking

Using pills or drugs to relax

Drinking too much

Sleeping too much

Bingeing on junk or comfort food

Procrastinating

Zoning out for hours in front of the TV or

computer

Filling up every minute of the day to avoid facing

problems

Withdrawing from friends, family, and activities

Taking out your stress on others (lashing out, angry

outbursts, physical violence)

Learning healthier ways to manage stress

If your methods of coping with stress arent contributing to your greater emotional and physical
health, its time to find healthier ones. No single method works for everyone or in every
situation, so experiment with different techniques and strategies. Focus on what makes you feel
calm and in control.

Stress management strategy #1: Get moving

Physical activity plays a key role in reducing and preventing the effects of stress, but you dont
have to be an athlete or spend hours in a gym to experience the benefits. Just about any form of
physical activity can help relieve stress and burn away anger, tension, and frustration. Exercise
releases endorphins that boost your mood and make you feel good, and it can also serve as a
valuable distraction to your daily worries.
While the maximum benefit comes from exercising for 30 minutes or more, you can start small
and build up your fitness level gradually. Short, 10-minute bursts of activity that elevate your
heart rate and make you break out into a sweat can help to relieve stress and give you more
energy and optimism. Even very small activities can add up over the course of a day. The first
step is to get yourself up and moving. Here are a few easy ways:

Put on some music and dance around

Take your dog for a walk

Walk or cycle to the grocery store

Use the stairs at home or work rather than an elevator

Park your car in the farthest spot in the lot and walk the rest of the way

Pair up with an exercise partner and encourage each other as you workout

Play ping-pong or an activity-based video game with your kids

Managing stress with regular exercise

Once youre in the habit of being physically active, try to incorporate regular exercise into your
daily schedule. Activities that are continuous and rhythmicand require moving both your arms
and your legsare especially effective at relieving stress. Walking, running, swimming,
dancing, cycling, tai chi, and aerobic classes are good choices.

Pick an activity you enjoy, so youre more likely to stick with it. Instead of continuing to focus
on your thoughts while you exercise, make a conscious effort to focus on your body and the
physical (and sometimes emotional) sensations you experience as youre moving. Adding this
mindfulness element to your exercise routine will help you break out of the cycle of negative
thoughts that often accompanies overwhelming stress. Focus on coordinating your breathing with
your movements, for example, or notice how the air or sunlight feels on your skin. Getting out of
your head and paying attention to how your body feels is also the surest way to avoid picking up
an injury.
When youve exercised, youll likely find it easier to put other stress management techniques to
use, including reaching out to others and engaging socially.

Stress management strategy #2: Engage socially

Reach out and build relationships
Reach out to a colleague at work
Help someone else by volunteering
Have lunch or coffee with a friend
Ask a loved one to check in with you regularly
Accompany someone to the movies or a concert
Call or email an old friend
Go for a walk with a workout buddy
Schedule a weekly dinner date
Meet new people by taking a class or joining a club
Confide in a clergy member, teacher, or sports coach

Social engagement is the quickest, most efficient way to rein in stress and avoid overreacting to
internal or external events that you perceive as threatening. There is nothing more calming to
your nervous system than communicating with another human being who makes you feel safe
and understood. This experience of safetyas perceived by your nervous systemresults from
nonverbal cues that you hear, see and feel.
The inner ear, face, heart, and stomach are wired together in the brain, so socially interacting
with another person face-to-facemaking eye contact, listening in an attentive way, talking
can quickly calm you down and put the brakes on defensive stress responses like fight-orflight. It can also release hormones that reduce stress, even if youre unable to alter the stressful
situation itself. Of course, its not always realistic to have a pal close by to lean on when you feel
overwhelmed by stress, but by building and maintaining a network of close friends you can

improve your resiliency to lifes stressors. On the flip side, the more lonely and isolated you are,
the greater your vulnerability to stress.
Reach out to family and friends and connect regularly in person. The people you talk to dont
have to be able to fix your stress; they just need to be good listeners. Opening up is not a sign of
weakness and it wont make you a burden to others. In fact, most friends will be flattered that
you trust them enough to confide in them, and it will only strengthen your bond. And remember,
its never too late to build new friendships and improve your support network.

Stress management strategy #3: Avoid unnecessary stress

While stress is an automatic response from your nervous system, some stressors arise at
predictable timesyour commute to work, a meeting with your boss, or family gatherings, for
example. When handling such predictable stressors, you can either change the situation or
change your reaction. When deciding which option to choose in any given scenario, its helpful
to think of the four A's: avoid, alter, adapt, or accept.
Avoid the stressor

Its not healthy to avoid a stressful situation that needs to be addressed, but you may be surprised
by the number of stressors in your life that you can eliminate.

Learn how to say no

Avoid people who stress you out

Take control of your environment

Know your limits and stick to them. Whether in your personal or

professional life, taking on more than you can handle is a surefire recipe for stress.
Distinguish between the shoulds and the musts and, when possible, say no to
taking on too much.
If someone consistently causes stress in your life, limit the
amount of time you spend with that person, or end the relationship.
If the evening news makes you anxious, turn off the TV. If
traffic makes you tense, take a longer but less-traveled route. If going to the market is an
unpleasant chore, do your grocery shopping online.

Stress management strategy #4: Alter the situation

If you cant avoid a stressful situation, try to alter it. Often, this involves changing the way you
communicate and operate in your daily life.

If something or someone is bothering you, be

more assertive and communicate your concerns in an open and respectful way. If youve
got an exam to study for and your chatty roommate just got home, say up front that you
only have five minutes to talk. If you dont voice your feelings, resentment will build and
the stress will increase.
Express your feelings instead of bottling them up.

Be willing to compromise.

Manage your time better.

When you ask someone to change their behavior, be willing to do

the same. If you both are willing to bend at least a little, youll have a good chance of
finding a happy middle ground.
Poor time management can cause a lot of stress. But if you plan
ahead and make sure you dont overextend yourself, youll find it easier to stay calm and
focused.

Stress management strategy #5: Adapt to the stressor

How you think can have a profound effect on your stress levels. Each time you think a negative
thought about yourself, your body reacts as if it were in the throes of a tension-filled situation.
Regain your sense of control by changing your expectations and attitude to stressful situations.

Reframe problems.

Look at the big picture.

Adjust your standards. Perfectionism

Try to view stressful situations from a more positive perspective. Rather

than fuming about a traffic jam, look at it as an opportunity to pause and regroup, listen
to your favorite radio station, or enjoy some alone time.
Take perspective of the stressful situation. Ask yourself how
important it will be in the long run. Will it matter in a month? A year? Is it really worth
getting upset over? If the answer is no, focus your time and energy elsewhere.
is a major source of avoidable stress. Stop setting
yourself up for failure by demanding perfection. Set reasonable standards for yourself
and others, and learn to be okay with good enough.

Stress management strategy #6: Accept the things you cant change
Many sources of stress are unavoidable. You cant prevent or change stressors, such as the death
of a loved one, a serious illness, or a national recession. In such cases, the best way to cope with
stress is to accept things as they are. Acceptance may be difficult, but in the long run, its easier
than railing against a situation you cant change.

Dont try to control the uncontrollable.

Look for the upside.

Learn to forgive. Accept

Many things in life are beyond our controlparticularly

the behavior of other people. Rather than stressing out over them, focus on the things you
can control such as the way you choose to react to problems.
When facing major challenges, try to look at them as opportunities for
personal growth. If your own poor choices contributed to a stressful situation, reflect on
them and learn from your mistakes.
the fact that we live in an imperfect world and that people make
mistakes. Let go of anger and resentments. Free yourself from negative energy by
forgiving and moving on.

Stress management strategy #7: Make time for fun and relaxation
Beyond a take-charge approach and a positive attitude, you can reduce stress in your life by
nurturing yourself. If you regularly make time for fun and relaxation, youll be in a better place
to handle lifes stressors.
Develop a "stress relief toolbox"
Come up with a list of healthy ways to relax and recharge. Try to implement one or more of these ideas each day, even if you're
feeling good.

Go for a walk

Savor a warm cup of coffee or tea

Spend time in nature

Play with a pet

Call a good friend

Work in your garden

Play a competitive game of tennis or racquetball

Get a massage

Write in your journal

Curl up with a good book

Take a long bath

Listen to music

Light scented candles

Watch a comedy

Dont get so caught up in the hustle and bustle of life that you forget to take care of your own
needs. Nurturing yourself is a necessity, not a luxury.

Set aside relaxation time.

Do something you enjoy every day. Make

Keep your sense of humor.

Include rest and relaxation in your daily schedule. Dont allow other
obligations to encroach. This is your time to take a break from all responsibilities and
recharge your batteries.
time for leisure activities that bring you joy, whether it
be stargazing, playing the piano, or working on your bike.
This includes the ability to laugh at yourself. The act of laughing
helps your body fight stress in a number of ways.

Stress management strategy #8: Adopt a healthy lifestyle

In addition to regular exercise, there are other healthy lifestyle choices that can increase your
resistance to stress.

Eat a healthy diet.

Reduce caffeine and sugar.

Avoid alcohol, cigarettes, and drugs.

Get enough sleep.

Well-nourished bodies are better prepared to cope with stress, so be

mindful of what you eat. Start your day right with breakfast, and keep your energy up and
your mind clear with balanced, nutritious meals throughout the day.
The temporary "highs" caffeine and sugar provide often end in with
a crash in mood and energy. By reducing the amount of coffee, soft drinks, chocolate, and
sugar snacks in your diet, youll feel more relaxed and youll sleep better.
Self-medicating with alcohol or drugs may provide an easy
escape from stress, but the relief is only temporary. Dont avoid or mask the issue at
hand; deal with problems head on and with a clear mind.
Adequate sleep fuels your mind, as well as your body. Feeling tired will
increase your stress because it may cause you to think irrationally.

Stress management self-help checklist

Use this checklist to track your progress using these strategies to manage stress. Compare how
you feel on days when you make lots of ticks on the checklist to those when you make few or
none.

http://www.helpguide.org/articles/stress/stress-management.htm

Coping with death and dying

In this high school lesson plan, students respond to musical recordings and literary quotations to explore
feelings about death and dying.

A lesson plan for grades 912 Healthful Living and Music Education

BY JOHN JANOWIAK AND MARGARET GREGOR

Learn more
R E L AT E D PA G E S

MyPyramid: Eating nutritious foods and getting plenty of exercise is important for everyone. This first-grade
lesson plan from the Food for Thought nutrition curriculum teaches students aboutMyPyramid for Kids and the nutritious
foods that belong in each of the six color-coded food groups.

The very hungry kid: This second-grade lesson plan from, the Food for Thoughtnutrition curriculum, teaches
students about hunger, feeling full, and the reasons we eat.

Tuning in to good nutrition: Advertisers use a number of strategies to get us to buy the foods they are selling. This
lesson plan, from the Food for Thought nutrition curriculum, asks students to think about these strategies, how they work,
and how by understanding these strategies, they can make informed decisions when they make food purchases.

R E L AT E D T O P I C S

Learn more about death, emotions, andhealth.

Help
Please read our disclaimer for lesson plans.

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This lesson plan on death and dying will provide students with an opportunity to openly discuss the variety of
feelings and emotions they may experience when someone or something dies. Students will identify
emotions they have experienced and discover that experiencing a wide range of feelings is normal after the
loss of someone or something. The teaching methods incorporated in this lesson include lecture, music
performance, and small and large group discussions.

Learning objectives
Students will:

after listening to the song Death Dont Have No Mercy, participate in a class discussion in which
they verbally compare their opinions of death with those expressed by Rev. Gary Davis.

verbally share emotions felt after their first experience with the death of someone or something.

identify and express emotions they have experienced while personally dealing with the death of
someone or something, or have observed another experiencing.

list and explain factors affecting the length and intensity of grief.

define death and share ways of coping with the emotional reaction experienced in facing death.

Teacher planning
TIME REQUIRED
One class period (one hour)

M AT E R I A L S N E E D E D

overhead and transparencies

recording of Rev. Gary Davis Death Dont Have No Mercy. (Available on many Rev. Gary Davis
recordings, including Harlem Street Singer.) Alternatively, recordings of Death Dont Have No Mercy can be
found on various Hot Tuna albums.

optional: recording of Eric Claptons Tears in Heaven. (Available on Eric Clapton Unplugged.)

CD player or other means of playing recording for students

blank paper one piece for each student

Pre-activities
1.

Before beginning this lesson, discuss Elizabeth Kubler-Ross five stages of adjustment to death: (1)
denial and isolation, (2) anger, (3) bargaining, (4) depression, and (5) acceptance. (For more information, see
Elizabeth Kubler-Ross On Death and Dying.) Physician and pioneering death researcher Elizabeth Kubler-Ross
was once asked what memories and concerns are most important to her patients during their final days of
life. She explained that the dying often dwell on two aspects of life, their connection with nature and other
people. They relive happy memories that involved significant people (frequently involving persons that they
knew only briefly many years ago) and pleasant times spent communing with nature (such as summers
spent at a lakeside cottage).

2.

Prior to playing the song Death Dont Have No Mercy, written by Rev. G. Davis, discuss the
following historical information:

In the early 1900s, black southern bluesmen such as Reverend Gary Davis, Mississippi John Hurt, Robert
Johnson, Son House, Blind Blake, Skip James, and others introduced guitarists to what has now become the
seminal style in country blues music. The musical style of Reverend Gary Davis (an African American blind

bluesman) was a combination of guitar artistry with gospel, blues, and old popular tunes and his songs were
recorded from the 1930s through the 1960s. Today, nearly 60 years later, Reverend Gary Davis has emerged
as one of the major influences on modern acoustic guitarists such as Taj Mahal. A paucity of biographical
information exists on Davis but the content and message of his tunes is a reflection of life during the
Depression era and a social commentary on the health status of southern blacks both then and now.

The song Death Dont Have No Mercy is an expression of attitudes towards death and dying among some
members of the African American community during the mid-twentieth century.

Activities
ACTIVITY ONE
1.

Play on a CD, or perform on acoustic guitar, the song Death Dont Have No Mercy by Rev. Gary
Davis. This song is an expression of attitudes towards death and dying among some members of the African
American community during the mid-twentieth century. Presenting this song may increase the likelihood of
students using music as a stress reducer during everyday life and in coping with death.

2.

Optional: Another example is Eric Claptons Tears in Heaven, a song he wrote and played
following the accidental death of his son. According to Clapton, he didnt intend to publish or record the song
until his manager suggested that it could help other grieving parents cope with their childrens deaths.

3.

After playing (or performing) Death Dont Have No Mercy, ask students to respond to two
questions:

Is there any social message in the song as a result of a particular political or musical period?

Does the song promote a better understanding of death?

4.

Assign and explain the following homework assignment, Death-Related Lyricism in Popular Music:
Find and identify one bereavement-related song whose lyrics refer to the process of dying or death. Answer
the following three questions for the chosen song:

List the song title/author/album/date recorded. Provide biographical information about the
artist/author of the song.

Is there any social message in the song as a result of a particular political or musical period?

Does the song youve chosen promote a better understanding of death? Explain.

ACTIVITY TWO
1.

Tell students that they will be focusing on feelings people experience when someone or something
dies. This can be a very sensitive subject for some children, especially if they have recently experienced a
loss. Its important to let students know that if at any point during the lesson they feel overwhelmed or do
not wish to respond to a question, they can let the teacher know by saying the word pass.

2.

Arrange chairs into a tight circle making sure every person sits within the circle.

3.

Announce that each person in the circle will be asked to complete the following sentences relating to
death. Ask students to respond in a thoughtful yet spontaneous fashion. If they prefer to pass on any
sentence they may do so by simply saying pass.

4.

Read the first statement and ask each student in turn to complete the sentence, when everyone in
the circle has responded read the second statement. repeat for each statement.

a.

When I think of death, I think of _____________________.

b.

I was ___ years old when I first experienced death.

c.

My first reaction to death was _______________________.

d.

I would prefer to die at the age of ______.

e.

I would prefer to die as a result of ____________________.

f.

Who will be there at the time of my death? __________________

g.

The greatest fear I have of dying is ______________________.

ACTIVITY THREE
1.

Have each student fold a blank piece of paper into four equal sections, then unfold.

2.

Ask students to write the name, possession, goal, and favorite activity in each square of the four
equal sections of the paper as follows:

name of best friend

most valued possession

most important goal, yet to be achieved

favorite pastime activity

3.

Instruct students to fold the paper together.

4.

Have the students drop the paper on the floor.

5.

Read the following quotation from Paramahansa Yogananda: When death comes, all your
engagements must be canceled. Invite students to explain this statement.

6.

Ask students what memories, current endeavors, significant others, and future aspirations are most
important to them. Discuss how the knowledge of impending death might change these relationships and
goals.

7.

In small groups, have students list three positive ways of coping with death.

GUIDED PRACTICE
Reflect upon the two death-related activities in the lesson. Write down the answer to these questions and
then discuss in a large group:

What are you thinking and feeling right now?

What are advantages and disadvantages in preparing for death and dying?

Do you believe death and dying activities can reduce stress? Why or why not?

Is it possible to intentionally incorporate preparing for death into your daily life?

What are benefits to listening to music with death and dying themes as a way of coping with death
and stress reduction?

INDEPENDENT PRACTICE
Media like books and TV shows can help us cope with death. Movies like The Lion King, in which the main
character, Simba, loses his father can help children understand that death is an eventual and natural
process.

Independent activity: Watch the comedy film Only the Lonely. The film is about Danny Muldoon (John
Candy), a Chicago policeman, who falls in love with a mortician Theresa Luna (Ally Sheedy), who works in her
familys funeral home. Question: Can movies help us cope with death and dying? If so, how?

C LO S U R E
1.

Ask students: What one thing did you learn from this lesson that can help us cope with death and
dying?

2.

Point out the variety of emotions that people have associated death and dying. Ask students if all of
those emotions are natural or if there are certain feelings they should experience when someone or
something dies. (Note: Make sure all students are aware that the variety of emotions is natural and that it is
important for them to talk about these feelings and share them with someone they can trust. Answer any
questions students may have.)

3.

End the lesson by reading a quotation from Carlos Two Bears Ashe, a Native American Elder. When
an elders life has been prepared for old age and the crossover to the spirit world, it is not their decline in life
that it reveals, it is the gift of the first few days of immortality that we are given to see. Carlos Two Bears
Ashe, D.D. (Native American Elder). For further discussion, ask students the following questions:

Why is it so difficult for most people to contemplate their own death?

What steps need to be taken to prepare us for death?

What is the role of religion and spirituality in end-of-life care among the various religious
traditions in America?

After the body has expired, how do the celebrations and rituals in Native American cultures
compare with those of other religions and traditions with which youre familiar?

Assessment
Students will have completed the activities when they are able to:

describe Elizabeth Kubler-Rosss five stages of adjustment to death

contribute to the response lists of questions

To assess the degree to which students comprehended the content of this lesson, consider using written
assignments or written quizzes. In addition, students can be assessed by responding to critical thinking
questions during the lesson. One or two responses to any of the questions may be a reasonable requirement.

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