MAURICIA D.

BORROMEO

Education in Music, or the acquisition of musical knowledge, skills, and values, is shaped by its
purpose and context. In the Philippines, it may variably mean: a) an avenue for the transmission of a
culture or tradition; b) a curricular component in basic education; and c) a prescribed sequence of study
in preparation for professional careers in music.

Oral Transmission

The principal aim in education among ethno-linguistic groups is to continue their tradition. These
groups keep alive Southeast Asian indigenous music, the oldest type of Philippine Music. For example,
the palook (use of stick beaters) and topayya (use of the hands) styles of playing the gangsa (flat gongs)
in the Cordillera Highlands of Northern Luzon are learned by young Kalinga boys through keen
observation and imitation of a customary circle of tutors- family, peers, or town elders. Able to practice
only on bamboo instruments, (traditionally, gong playing in the absence of ritual or social event is
frowned upon) actual playing on the gongs takes place at the social gatherings in which music-making is
a participatory and communal experience. As adults, they will form a pool of musicians needed for non-
stop strenuous gangsa playing during celebrations that last for days.

Unlike the gangsa, the kulintang (a row of knobbed gongs of graduated sizes) is taught directly on
the instrument itself, and by a tutor. He/She employs the techniques of rote-learning (imitation and
repetition of a pattern demonstrated by the teacher), the use of the kamblala, a set of patterns to be
memorized, then played and sung simultaneously by the student; and kinesthetic guiding of the hands
to teach muscular coordination. (Cadar, 1975). The Maranaos (and other Muslim communities of
Southern Philippines) value the study and performance of kulintang for its social significance, serving as
an occasion for community entertainment, social contacts, competitions, ethical learning and exercise of
self-discipline.

In the context of guru-pupil relationship, the Tausug tata gabbang (a bamboo xylophone played
alone) andtata biyula (a bowed string instrument played alone) are similarly taught. Male students living
with a male gururender household services in return for free room and board while female students
come to the house of a male guru for lessons. (Trimillos, 1972)

The highly specialized and multi-faceted apprenticeship of the Maranao princess, Sindao Banisil,
apabubayokand onor (artist) in the study of Bayok (Maranao vocal genre) was entrusted to a team of
five women, all aunts of hers. Starting at age six, she learned from these tutors various aspects
of Bayok artistry: memorization, and extemporizing on text models, chanting techniques, and proper
application of vocal devices, improvisation, and other skills like dancing, playing on instruments, good
manners, personal grooming- all relative to the art. Sindao, a prodigious pupil, reached professional
status at age 15, when she easily won over established pabubayok in several competitions. (Santos,
1989).

Music in Basic Education

The New Elemetary School Curriculum (NESC) and the Secondary Education Development Program
(SEDP) which were prescribed and instituted in 1982, and 1989 respectively by the then Department of
Culture (DEC) and Department of Education, Culture and Sports (DECS) constitute a continuum of
academic preparation for college. The inclusion of the subject of music is premised aesthetic (musical)
and utilitarian (extra-musical) contributions to general on its education and the national culture. Music
instruction in both public and private elementary schools are of the general music type (as distinct from
performance classes) commonly used in the United States. The overall aim is to develop basic music
literacy. The graded learning outcomes are based on the elements of music- rhythm, melody, harmony,
form timbre, texture dynamics and using the conceptual and spiral approaches which are hallmarks of
western music education. The repertoire includes Spanish/European/American/ influenced Philippine
Music and foreign songs. Accordingly, the skills of singing, music reading, responding to the elements
receive much attention. In some schools, the general music classes are complemented by voluntary
participation in performance groups (Rhythm Band, Child Choir, Ethnic Ensembles) organized outside of
the regular class time.

In high school, the foundation of singing, music reading, responding and listening to music is further
developed and applied to the study of various genres of Philippine Asian, and Western Music within the
framework of the PEHM subject area (Physical Education, Health, and Music). The skills of improvising
and creating are encouraged. Recently, the subject of art was added to the time allotted to music.

Specialized Training in Higher Education

Various undergraduate music programs are available at the University of the Philippines (UP),
University of Sto. Tomas (UST), Philippine Women’s University, Centro Escolar University, St.
Scholastica’s College, Sta. Isabel College, St. Paul College, the Asian Institute of Liturgical Music, all in
Metro Manila, and Silliman University (Dumaguete City), University of San Agustin (Iloilo), Univesity of
the Immaculate Concepcion (Davao). Depending upon the institution, certificates, diplomas, or degrees
are earned in instrumental and vocal performance, composition, conducting, music education,
musicology, Asian music, dance, music, theater, and church music. The content and methodology of
courses reflect a heavy orientation towards repertoire and standards of Western music. Increased
awareness of this imbalance has led to the gradual inclusion of non-Western, Asian, and Philippine
music in the curricula over the past decades by the University of the Philippines and others. The use of
technology in music is a recent trend. Distance education, if used judiciously, will usher in unexplored
alternatives for certain aspects of music training.

The overall picture of Philippine Music Education is not without problems, i.e. full implementation of
the Music Law, R.A. 4723, teacher quality and development, dearth of relevant materials, student
assessment, funding, etc.. But with the continued support of government institutions like the
Department of Education, Culture and Sports, Commission on Higher Education, National Commission
for Culture and the Arts, educational institutions, and organizations like the National Music Competition
for Young Artists, and Kodaly Society of the Philippines, Filipinos can look forward to Music Education in
the twenty-first century that is global and truly Philippine in its use of indigenous learning, current
pedagogical trends, non-Western and Western repertoire, and music technology.
HISTORY OF MUSIC EDUCATION IN THE PHILIPPINES

LETICIA G. DEL VALLE

Music education is the dissemination of music knowledge, skills and appreciation. The process may
occur in the structured setting of a school or in a more informal manner.

Music permeates the daily lives of indigenous culture groups. it is used in connection with life-cycle
events such as birth, courtship, marriage and death. Occupational activities such as planting, harvesting,
hunting and fishing and functions such as peace pacts and victory celebrations are occasions for music
making. Lullabies are sung to put babies to sleep, instruments are played to drive away evil spirits and
songs and chants accompany the playing of children. In these communities, singing of songs and playing
of instruments are naturally learned through participation. Formal ways of learning are however
practiced among many culture groups.

A Maranao lad who wishes to specialize in singing certain types of the extensive Maranao vocal
repertoire studies with a professional singer in a kasombak (apprenticeship) system. He stays with
the goro (teacher) and does daily chores for free instruction, board and lodging. The training of
the morit (student) begin with the learning of songs by rote, gradually progressing to creating
improvisations and variations and ends with the student singing in his own style songs prepared by the
teacher. Training includes learning the vocabulary and grammar of specific song languages, and other
aspects of performance (Cadar, 1981). Among the Tausug highly formalized systems of instruction are
practiced in the study of the purely vocal tradition, mixed vocal-instrumental genres such as
the paggabang, and solo instruments such as the tata gabbang (solo gabbang) andtata biyula (solo
biyula. Trimillos, 1972).

The Spanish colonizers who arrived in the 1500’s brought with them missionaries who established
churches, convents and schools in different parts of the islands. Among them were church musicians
and music teachers who composed and performed liturgical music, wrote books on music and taught
young Filipino boys to sing the Gregorian chant and play instruments for church services. Among the
schools established was a Franciscan seminary in Lumban, Laguna in 1606 where 400 boys were trained
in singing and playing of instruments. Many years later, the Colegio de los Niños Tiples de la Santa
Iglesia Cathedral, a school noted for its excellent training of boy’s, choirs, offered classes in solfeggio,
vocalization, composition and the playing of organ and other stringed instruments. Graduates of the
school included musicians such as Salvador Pinon, Fulgencio Tolentino, Antonio Garcia, and Simplicio
Solis. Founded in 1742, the Colegio existed until the outbreak of the Second World War (Banas, 1969). In
the 1800’s a rich musical life developed in the urban areas particularly in Manila and the more affluent
provinces. This was brought about by a large number of visiting foreign musicians, singers and opera
companies who performed in the theaters and concert halls of Manila and in some cities in the South.
These musical events contributed greatly to the music education of the Filipinos along secular forms of
Western music. (Guevara, 1971).

The American colonial government established public schools all over the islands. The first teachers
were American soldiers who were later replaced by the Thomasites. Curricula of these schools included
music in the elementary level. Music instruction concentrated based on the Progressive Music Series, a
graded foreign collection of songs, and a Philippine edition of the same series by Norberto Romualdez.
Similar materials which were used much later were the 6 volumes of the Bureau of Public School Series
which consisted of basic songs (the Philippine National Anthem and other patriotic songs) folk songs of
the Philippines and other countries, works of Filipino and foreign composers and suggestions for the
teaching of rondalla and rhythm band. (Yamson, 1972).

In 1966, the Philippine Congress passed Republic Act No. 4723 popularly known as the Music Law
which provided for the teaching of music and art as a separate subject in the elementary level and the
teaching of music once a week for one hour in the secondary level (Yamzon, 1972). The New Elementary
School Curriculum of 1982 however, required the teaching of music as a separate subject only from
grades III to VI and its integration with other subjects in Grades I & II. In the high school, music was
made a part of a subject area, PEHM, which includes Physical Education and Health. Content of
instruction consists of a study of Philippine, Asian and Western music. The Philippine High School for the
Arts (PHSA) is a special secondary school established by the government in 1977 which provides training
in music, dance and the visual arts. Here, music scholars are given instruction in performance, theory
and literature as well as academic subjects. In the tertiary level, schools of education offer PEHM
specialization and 6 units of music for students studying for a Bachelor of Science in Elementary
Education degree. Colleges and universities offer undergraduate and graduate courses in music. Various
courses range from a Diploma in Music, Bachelor of Music and Master of Music in Performance (major
in piano, voice, strings, winds, or percussion) Composition, Musicology, Conducting and Music
Education, to a Diploma or Certificate in Performance.

The University of the Philippines (UP) College of Music is one of the leading schools of music in the
country. Originally a conservatory patterned after European and American music schools, the College
today has strong multicultural thrust reflected in the integration of non-western music courses of
studies in the fabric of its over-all curriculum program. Other schools with strong departments offering
music degrees are: the University of Sto Tomas (UST), St. Scholastica’s College, Philippine Women’s
University, St. Paul’s College, Sta. Isabel College, Centro Escolar University, Asian Institute of Liturgy and
Silliman University. Music instruction are also being provided by tutors, numerous private studios
teaching art and popular music, and music organizations that hold seminars and workshops to improve
the quality of instruction in their specific fields of specialization.

The Philippines Society for Music Education (PSME) founded in 1971 is the main organization in the
country actively engaged in upgrading the standards of classroom music teaching in the elementary and
secondary schools today. It took over the work begun by the Philippine National Society of Music
Education (PNSME), which was founded in the early 1960’s and was active until 1970. Other music
organizations are the Piano Teachers Guild of the Philippines, Kodaly Society of the Philippines, Aschero
Society of the Philippines, the Philippine Federation of Choral Music, and the National Music
Competitions for Young Artists (NAMCYA) Foundation.
MUSIC EDUCATION IN THE PHILIPPINES

PROF. VIOLETA E. HORNILLA

To study music is to study the basics. Music is a comprehensive art – within its study students come into
contact with other basic areas of the curriculum: math, science, social studies, languages and physical
education. While music is a subject with its own body of knowledge, and is inherently worth knowing,
its comprehensive nature serves as a foundation for a unified and comprehensive educational setting.

In 1963, DECS Memorandum #11,s.1963 was issued pointing out that Arts and Physical Education in
the elementary grades were often neglected for the sake of instructional and administrative
expediency. It called for the proper implementation of D.O. #1,s. 1957, singling out Arts & Physical
Education as the proper vehicle for DECS’ cultural revival program.The directive also aimed to make Art
Education, Music and Physical Education required subjects in the elementary grades. Under Arts and
Physical Education, all such subjects were to be allotted a 40-minute and 50-minute instruction time in
the primary and intermediate grades respectively. It was further stated that the above mentioned
subjects should not be sacrificed for the sake of any other subjects in the elementary school curriculum.
(DO Memorandum #1,s. 1963 – cultural Revival. Through Art Education, Music and Physical Education in
the Elementary Schools).

Bulletin #6,s.1959, titled Improving the Teaching of Music, was a follow up of D.O. #1,s. 1957,
observations being that “music has for some years not been seriously taught”. Prescribed in this bulletin
was for music to be combined with Art Education and Physical Education , and not as erroneously
concluded from the title ‘Art Education and Physical Education’ where Music seemed to have been
scrapped from the daily schedule of subjects. General Letter #23, dated July 21, 1956 gave specific
instructions that music should have a definite period or time on the day’s program in addition to its
correlation with appropriate subjects.

As early as 1950, D.O. Memorandum #72, came out with a prescription of “Music courses in the
Secondary Schools’ General Curriculum”. Courses in Second, third and fourth year were likewise
suggested:

voice culture – for those inclined to singing

courses on orchestral instruments

courses on band instruments – for those who wish to learn the trombone, cornet, xylophone,
saxophone, etc. The explanatory work was either vocal or instrumental and should be for 6 weeks, 80
minutes a day.

The setback to the suggested music course offerings were and still is the absence of orchestral and
band instruments which were/are very expensive. Some sectors did come to have band instruments via
donations or private sponsorship as fundings for their procurement was yet to be appropriated.

The memo mentioned further that a school should not offer any music course unless a qualified
teacher is available. It deemed essential that a teacher of music must have a thorough academic and
professional training experience, a pleasant and dignified personality alongside the provision of a well-
equipped music room.
 A subsequent bulletin #6,s.1959 from the Bureau of Public Schools, titled Improving the Teaching of
Musicunderlined that not any teacher can teach music. It states that a teacher of Music should be one
with a special aptitude, not only because he can sing or play an instrument but also because he
possesses a knowledge of Music reading and notation. If there is only one qualified music teacher in a
school, Music instruction may be given once or twice a week for the total time allotted to the subject
during the week.

The Bureau of Public Schools likewise encouraged the training of all music teachers: consultants
from the General Office, Music instructors from the nearest regional normal schools, and lay music
leaders of the community.

The increasing importance given to music education was reflected in the passage of R.A. 4723
(Music Law). Enacted in 1966, the Music Law was the first legislative Act in the history of the country to
directly benefit school music education. The law envisioned the upgrading of Philippine Musical Culture
through the improvement of Music instruction on the elementary and secondary school levels of both
public and private schools.

The second Republic Act that has benefited Music education is R.A. 5523. Enacted in 1968, the law
has created various school division positions. It specially provide for 10 music supervisory positions in
ten school divisions of the Bureau of Public Schools.

The initial implementation of the above stated laws has firmly rooted music in the curriculum of
both public and private schools in the country.

Not until recently, the time allotted for each of the three subjects: Arts, Music and Physical
Education, were 40 minutes daily for Grades I-IV, and 50 minutes daily for Grade V-VI.

With the implementation of the Music Law, the subjects were subdivided into distinct areas,
namely:

Music and Art

Physical Education

Implementing regulations of R.A. 4723 (Music Law) was embodied in the bureau of Public Schools
Circular #24,s.1967 but was rescinded by Department Order #10,s.1970 with the advent of the 1970
Revised Elementary Education Program. The latter provides that Music and Arts be treated as separate
subject areas with Music allotted 3 days a week and Arts 2 days.

The Philippine Society for Music Education (PSME), a non-profit association composed of music
educators all over the country, had its beginnings on November 23, 1971. Its primary intent was to
improve music education in all its areas, to share new knowledge and ideas on music and music
education. Symposia, workshops and annual general assemblies marked the infant years of PSME with
Dr. Lucrecia S. Kasilag, now National Artist for music as founding president. As a direct effect of its
historic formation, three music organizations – the Philippine Choral conductors’ Association, the
Philippine Society for Organists, and the Piano Teachers’ Guild of the Philippines were likewise founded.

In November 7-9, 1975, the succeeding president Dean Corazon S. Maceda spearheaded a workshop
aimed at the formulation of goals of Music Education in the Philippines. Twenty-nine workshop
participants, all distinguished Filipino educators, came up with well-articulated goals for elementary,
secondary and tertiary (music majors and none-music majors) level of music education.

From 1975 onwards, PSME continued on its mission to improve music education through yearly
seminars and workshops and lecture series, to help produce competent music teachers. One such
notable program undertaken under Dr. Loreto C. Gloria, was a nationwide scholarship program for
public and private teachers from elementary and high school. This program was implemented in
cooperation with the National Commission on Culture and the Arts (NCCA) and the Philippine Normal
University (PNU). To date, two groups of Scholars have completed their training while a third batch is
presently being readied for the second summer session by 1999, with completion seen by summer of
2000.

The Department of Education and Culture (DEC) issued an Order #21,s.1973 which was a
“Clarification on the Revised Physical Education and Health, Music Pre-Military Training (PMT) and
Scouting Program for School Year 1973-1974. The course name was changed to Youth Development
Training (YDT) to replace Physical Education, Health, Music and PMT in the first to third years of high
school. Weekly schedules of 40 minutes per period were as follows:

Second
First Semester
Semester

Scouting 2 days 1 day

Physical
1 day 2 days
Education

Health 1 day 1 day

Music 1 day 1 day

Citizens’ Arm Training (CAT), replaced PMT, PE, Health and Music for the fourth year. A 40-minute
weekly schedule per period were to be followed for both semesters.

CAT 2 days

Physical Education 1 day

Health 1 day

Music 1 day

As a YDT component, Music Education was offered in all curriculum years. Approximately 65% of
the total number of music pieces to be learned in each curriculum year should consist of Philippine folk
and composed music and the rest, foreign music, to include internationally known music matters. The
creative uni-segmented and integrative conceptual approaches are suggested for music teaching-
learning situations.
 Meanwhile, in 1970-71, the Revised Elementary Education curriculum gave Music and Arts, 30
minutes per day, to schedule as follow:

Second
First Semester
Semester

Music 3 days 2 days

Art 2 day 3 days

Department of Education and Culture (DEC) Memorandum #65,s.1974 announced a “Third National
Seminar – Practicum in School Music Education “, sponsored jointly by DECS, the Philippine National
Society for Music Education and the UNESCO National Commission of the Philippines, dated September
7-8, 1974. It was held at Teachers’ Camp, Baguio city. The theme was: “Innovative Musical Dimensions
for the furtherance of the Quality of School Music Education in the New Society” with foreign music
experts as resource speakers.

The above national seminar-practicum came after the conclusion of a 5-year UP-BPS (University of
the Philippines and Bureau of Public Schools) Scholarship Program from 1968-1973. Annual scholarship
recipients were teachers teaching music both in the elementary and secondary schools. The period
covered 2 semesters and 1 summer with a stipend for books and a living allowance including regular
salaries. An average of 30 to 40 scholars a year attended the program highly benefitting Music Education
in the country.

1971 saw the start of the National Music Competitions as an annual undertaking aimed to discover
and nurture young music talents from among school children. Concerned music educators of varied
expertise and persuasions voluntarily came together to contribute their time and experiences towards
the yearly endeavor. Teachers prepared their choirs and students to compete. The DECS in various
regions through regional levels, and the Cultural Center of the Philippines (CCP) was mainly responsible
for the week-long National finals held every last week of November. This coincides with the National
Music Week (Presidential Proclamation #1173 dated August 7, 1973). From then on, the competition
expanded to include not only children’s choirs but also solo instruments, piano solos, youth choirs,
college choirs and eventually, also included the rondalla competition.

In 1982, the Ministry of Education and Culture issued MEC Order #6,s.1982 outlining the New
Elementary School Curriculum (NESC). Beginning school year 1983-84, the new curriculum was
introduced by grade levels. The gradual implementation of NESC in Grades I through Grade VI saw the
absence of Music in Grades I and II. In the Revised Elementary Education Curriculum effective 1970-71,
time allotment (minutes daily) for Music and Arts was:

I II III IV V – VI

30 30 30 30 30

With the advent of the New Elementary School Curriculum effective school year 1983-84, time
allotment for Arts and Physical Education became:
 I II III IV V VI

40 40 40 40

Music lost its identity with its marked absence in Grades I and II. Music for the elementary grades
was offered only from Grades III to VI.

Time allotment – Minutes per week for Arts and Physical Education:

I II III IV V VI

200 200 200 200

Equal distribution of time for Music, Arts and PE was on a 2-2-2 plan the whole year round. In the
mid-90’s Physical Education regained its foothold in Grades I and II through Gr. VI with 120 minutes per
week time allotment. Meanwhile Music and Arts remained integrated in Civic and Culture in Grades I
and II, while in Grade III and VI, they were eased out of the equal time sharing and given only 80 minutes
a week divided by the 2 areas, Music and Art. Music became a 40-minute, once-a-week-subject per
period. The preparation of students for Olympic competitions became the thrust of DECS up to present.

The New Secondary Education Curriculum (NSEC) became effective by School Year 1989-
90. Physical Education, Health and Music, Citizen’s Army Training (CAT) remained a component of
PEHM in the fourth year. Arts became integrated with Music in the 3rd and 4th year levels.

Since 1973-74 with D.O. Memorandum #16.s.1973,v”Classification on the Revised PE and Health,
Music, PMT and Scouting Program – Music was given a 40-minute once-a-week time allotment at all
levels. This continued with the 1989 NSEC but by 1997, under the Revised Rating System, time
allotment for PEHM/CATwas scheduled as follows:

First and Second Year

First Semester – one day a week – 40 minutes

Second
– two days
Semester

(Health opposite Music on a 1-2; 2-1

arrangement)

Third Year

First
Semester

Health – 2 days (40 minutes)

 – 1 day as Music and Arts (40
Music
minutes)

PE – 2 days (40 minutes)

Second
Semester

Health – 1 day (40 minutes)

Music – 1 day (40 minutes)

Music and
– 1 day (40 minutes)
Arts

PE – 2 days (60 minutes)

Fourth Year

Health 1 day 40 minutes

Music and Arts 1 day 40 minutes

Physical
2 day 60 minutes
Education

CAT 1 day 80 minutes