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Grade 10 Music LM 3 PDF
Grade 10 Music LM 3 PDF
CONTENT STANDARDS
PERFORMANCE STANDARDS
The learner...
1. Sings contemporary songs.
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LEARNING COMPETENCIES
The learner...
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Contemporary Philippine Music
CONTEMPORARY
PHILIPPINE MUSIC
The modern Filipino repertoire consists of musical pieces that have been written in 20th
century idioms that have evolved out of such stylistic movements as impressionism,
expressionism, neo-classicism, as well as avant garde and new music.
New music are compositions which are improvisational works such as the early
compositions of Dr. Ramon Santos, Radyasyon and Quadrasyon; Josefino “Chino”
Toledo’s Samut-Sari, Pintigan and Terminal Lamentations, and Jonathan Baes’ Wala
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and Banwa.
20th CENTURY
TRADITIONAL COMPOSERS
W ith Spain and then America having colonized the Philippines from the early 1500s
to the late 1800s, it was unavoidable that Western compositional techniques found
their way into the works of Filipino composers. Yet, even 20th century Filipino composers
have managed to retain some traditional elements in their assimilation of Western
techniques. In fact, they have become the strongest foundations of what we now know
as Philippine music.
Among the major Philippine contemporary composers are Francisco Buencamino Sr.,
Francisco Santiago, Nicanor Abelardo, Antonio Molina, Hilarion Rubio, Col.
Antonino Buenaventura, Rodolfo Cornejo, Lucio San Pedro, Rosendo Santos Jr.,
Alfredo Buenaventura, and Ryan Cayabyab.
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Larawan, Mazurka, Boholana, Mi Bandera, Princesa ng Kumintang, Maligayang Bati,
Ang Bukang Liwayway, Pandanggo ni Neneng, Ang Bagong Balitaw, Himig ng Nayon,
Damdamin (Romance), and Pizzicato Caprice.
Many of his piano works have become a staple part of the Philippine repertoire of today’s
young students, especially Mayon, Larawan, and Maligayang Bati. He also wrote several
zarzuelas and kundimans. He passed away on October 16, 1952 after which a posthumous
award honored him with the title “Outstanding Composer.”
LARAWAN
Francisco Buencamino Sr.
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Contemporary Philippine Music
Francisco Santiago
(1889 – 1947)
Among his famous works are Pakiusap, Madaling Araw, Sakali Man, Hibik ng Pilipinas,
Ano Kaya ang Kapalaran, and Kundiman (Anak Dalita). This piece was sung before
the Royal Court of Spain upon the request of King Alfonso II. He was also a musical
director for films. Among the films whose music he supervised are Kundiman, Leron
Leron Sinta, Madaling Araw, Manileña, and the movie inspired by his own composition
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Pakiusap. He became the first Filipino Director of the UP Conservatory of Music.
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NICANOR ABELARDO
(1893 – 1934)
ANTONIO J. MOLINA
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(1894 – 1980)
National Artist for Music
Molina was a product of both the Romantic and Impressionist schools of thought. He
was fascinated by the dynamics and harmonies of Debussy, but retained much of the
Romantic style in his melody. A characteristically impressionist work is his piano work
Malikmata (Transfiguration). The mysteriously exotic chords of this piece gradually lead
to a lyrical melody, with the traditional harmonies abruptly returning to the initial mood.
Molina wrote several compositions for piano, violin, and voice as well as a Spanish-style
opera form known as the zarzuela.
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He is best known for his poignantly romantic serenade for violin and piano Hatinggabi.
Subsequent transcriptions of this piece were written for the cello, flute, piano, and guitar.
Other works by Molina include orchestral music - Misa Antoniana Grand Festival Mass,
Ang Batingaw, Kundiman-Kundangan; chamber music - String Quartet, Kung sa Iyong
Gunita, Pandangguhan; and vocal music - Amihan, Awit ni Maria Clara, and Larawan
Nitong Pilipinas. He received the National Artist for Music award in 1973. He passed
away on January 29, 1980.
MUTYA NG PASIG
Music and Lyrics by Nicanor Abelardo
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HATINGGABI (Excerpt)
Antonio J. Molina (Music) / Levi Celerio (Lyrics)
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PANDANGGO SA ILAW (Excerpt)
Antonino Buenaventura (Music) / Levi Celerio (Lyrics)
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Contemporary Philippine Music
Hilarion Rubio was born on October 21, 1902 in Bacoor, Cavite. A composer, music
teacher, conductor, and clarinetist, he created substantial works for the orchestra. He
served as conductor for opera, ballet, dance recitals, and movie music.
His early interest in music came from the influence of his uncle who was then playing
with the Bacoor Band. His first music lessons in music theory and clarinet were with Fr.
Amando Buencamino who taught him solfeggio and some musical instruments. When he
was eight years old, he was accepted as a member of the Bacoor Band as a clarinetist. At
that time, he made his first composition Unang Katas for his concert with the band.In his
high school years at the North High School (now Arellano High School), Rubio became
a member of several orchestras. He performed with various movie house bands and
orchestras. He was also a member of the Lyric Theater Orchestra, Trozo Band in Benavides
Street, and the Band Moderna in Tondo. After he graduated from high school in 1930,
he co-founded the Anak Zapote Band. He later became a bandleader and conductor of
the ROTC Band of the Conservatory of Music, University of the Philippines (UP) and
played the violin and timpani with the UP Junior Symphony Orchestra.
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After his student years, Rubio became a conductor of opera at the Manila Music School
in 1936. He became the choirmaster and choral conductor of the Choir Islanders. Also,
he assumed the position of instructor at the Conservatory of Music, University of the
Philippines. He was also a lecturer at the Buencamino Music Academy, La Concordia
College, College of the Holy Spirit, Santa Isabel College, Laperal Music Academy, Manila
Music School, St. Theresa’s College, and the Valencia Academy of Music. He became
full professor of the UP Conservatory of Music from 1936-1937. He was appointed
director of the Conservatory of Music, Centro Escolar University in 1944-1945.
During the Second World War, Rubio composed and arranged many works and conducted
many military and civilian brass bands. After the war, he was appointed conductor of
the Manila Municipal Symphony Orchestra. He held various positions, including as Vice
President of the PASAMBAP (Pambansang Samahan ng mga Banda sa Pilipinas), the
National Band Association, board and charter member of the League of Filipino composers,
and the first President of the Philippine Bandmaster’s Association. He was conductor of
the National Opera Company for 23 years from 1937 to 1960.
Rubio’s compositions include: Bulaklaken, Theme and Variations for Band, Dance of
the Nymphs Rondo, Florente at Laura (overture), Halik, Danza, Unang Katas, Two-
part Invention (piano), Ang Konsyerto (ballet), Ang Magsasaka, Bukang Liwayway,
Concertino in C (marimba and piano), Filipinas Kong Mahal, Hatulan Mo Ako,
Ginintuang Araw, In a Tropical Sea, Light, Narra, Mutya ng Silangan, To the Filipino
Youth, Nela, National Heroes Day Hymn, and Salamisim. He passed away on December
28, 1985.
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Education in New York. He was also awarded a study grant by the UNESCO in 1949.
He was a delegate to the general assembly of the International Society for Music Education
held in Montreux, Switzerland in 1976. He represented the country at the general meetings
of the International Music Council (IMC) in Rome (1962) and Hamburg (1964).
Buenaventura was actively involved with the various military bands which ultimately
earned him his military rank of Colonel. He was a music instructor and band conductor
of the Philippine Military Academy (PMA). Later, he restored the Philippine Constabulary
Band in 1945, which was reputedly likened to a symphony orchestra. It was considered
as “one of the best military bands in the world.” It would later be renamed the Philippine
Army Band. He also founded the San Pablo Music Academy in Laguna.
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RODOLFO S. CORNEJO
(1909 – 1991)
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Roosevelt University, USA in 1933. He was conferred a Doctor of Music degree honoris
causa in 1954. He received his Doctor of Philosophy degree major in composition from
the Neotarian College of Philosophy in Kansas City, USA in 1947.
Cornejo taught at the UP Conservatory of Music and became the researcher and official
composer of the Philippine government-in-exile. He was appointed by then President
Manuel L. Quezon. He was commissioned to write a symphony and an opera and compose
the music for the documentary film on President Quezon’s funeral. He served as pianist-
director of a USO concert unit that entertained the Allied Forces at the E.T.O., the
Marianas, and the Hawaiian Islands during World War II.
Cornejo was the soloist of the Manila Symphony Orchestra, Filipinas Youth Symphony
Orchestra, and UP Symphony Orchestra. Later on, he became the musical director of the
Sampaguita and Vera-Perez Movie Companies. Since 1978, he held concerts in the United
States. He appeared as composer-conductor at the Seattle Opera House and the Seattle
Playhouse. He is listed in “The International Who’s Who in Music.”
Cornejo was also known for his extemporaneous thematic improvisations based on the
letters of people’s names. His compositional output includes A la Juventud Filipina,
Bailes de Ayer, Caprice on a Folksong, Cello Sonata, Ibong Adarna, Kandingan, Malakas
at Maganda, Overture, Okaka, Oriental Fantasy, Ibong Adarna, Piano Concerto Nos.
1,2,3, Ruby, and Song of the Miners. He passed away on August 11, 1991.
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he worked as an assistant conductor of the Nueva Ecija High School Orchestra where he
started doing musical arrangements. Later on, he wrote music for the zarzuela.
De Leon wrote piano compositions, hymns, marches, art songs, chamber music, symphonic
poems, overtures, band muic, school songs, orchestral works, operas, kundiman, and
zarzuelas. He was known as a nationalist composer who expressed the Philippines' cultural
identity through his compositions. Two operas which are considered his masterpieces
are the Noli Me Tangere (1957) and El Filibusterismo (1970). These two operas have
been staged in the Philippines and abroad. He also wrote a march during the Japanese
regime entitled Tindig, Aking Inang Bayan, and another march Bagong Lipunan during
the martial law. He wrote the popular Christmas carols Payapang Daigdig (1946), Noche
Buena, and Pasko Na Naman, both in 1965. Felipe de Leon received a posthumous
award as National Artist for Music in 1997. He died on December 5, 1992.
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His orchestral compositions are best represented by the Suite Pastorale (1956), a poetic
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aural description of his hometown Angono, and his nationalistic symphonic poem Lahing
Kayumanggi (1962). Other compositions include songs, pieces for violin, cello, and chorus.
His works for the symphonic band was where he was most prolific and productive both
as composer and conductor.
His musical prowess was internationally recognized when he was invited to be a judge at
the prestigious Van Cliburn International Piano Competition in 1980. He was declared
National Artist for Music in 1991 and passed away on March 31, 2002.
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As a UNESCO scholar, Santos was awarded the “Philippine Composer of the Century”
after receiving the “Composer of the Year Award” in Manila in 1956 and 1957. He joined
the faculty at Wilkes University, Pennsylvania in 1968. He performed as timpanist, pianist,
and conductor with several orchestral groups. He conducted church choirs in Maryland,
New Jersey, Lehman, Huntsville, and Shavertown United Methodist Churches in
Pennsylvania, USA. He composed the background music for J. Arthur Rank Films at
Pinewood Studios in London, England, where he worked with British composers Malcolm
Arnold and Muir Mathieson. Among Santos’ teachers were famous composers Aaron
Copland, Irving Fine, Humphrey Searle, and conductor Norman Del Mar.
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ALFREDO BUENAVENTURA
(1929 – )
A prolific composer, Buenaventura has composed over 50 major works including five
full-length operas, operettas, dance dramas, cantatas, symphonies, concertos, ballets,
overtures, prelude, fugues, and chamber music. His compositions and other creative
works have transcended territorial, racial, and language barriers as these have been
performed abroad by international virtuosi and religious groups. Many of his compositions
are based on Filipino heroes, legends, and epics. He uses native songs, both tribal and
folk, as themes of his music compositions. A number of his compositions are accompanied
by Filipino indigenous instruments.
Some of his major works include the operas Maria Makiling (1961), Diego Silang
(1966), Prinsesa Urduha (1969), cantatas Ang Ating Watawat (1965), Pasko ng Barangay
(1964), three piano concertos subtitled Celebration, Determination, and Exultation, and
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Contemporary Philippine Music
symphonies such as Dakilang Lahi (1971), Gomburza (1981), and Rizal, the Great
Malayan Antagonist (1990). His minor works numbering more than 50 cover mostly
religious songs and hymns for specific celebrations such as the Sixteenth Centenary of
St. Augustine, Mass for the 400th Year of the Augustinian Recollect, and the Philippine
Music Festival. His other creative musical works have been commissioned by the Cultural
Center of the Philippines, Metropolitan Theater, and the National Music Competitions
for Young Artists (NAMCYA).
Buenaventura’s compositional style rests mainly on his own set of musical ideas, wherein
he creates a combination of contemporary and conventional materials. He keeps his
melodies simple and understandable but with contemporary harmonies that enhance their
complexity. He became an official organist of the Manila Cathedral in 1960. He became
the Dean of the College of Music, Centro Escolar University. He is a member of the
League of Filipino Composers. He received a number of awards in the music industry.
He was twice an awardee of the Republic Cultural Heritage Award and the The Outstanding
Filipino Award (TOFIL) for Music in 1995.
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CIPRIANO “RYAN” CAYABYAB
(1954 – )
Cayabyab was born on May 4, 1954 in Manila. He obtained his Bachelor of Music degree
at the University of the Philippines’ College of Music. After which, he became a faculty
member for Composition at the same University. He also served as the Executive and
Artistic Director of the San Miguel Foundation for the Performing Arts, which oversaw
the operations and programming of the San Miguel Philharmonic Orchestra and the San
Miguel Master Chorale. At present, he continues to be a much sought-after professor,
musical director, composer, arranger, and conductor in the Philippine concert and recording
scenes.
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SUMMARY
With the European and American influences brought by our colonizers, it was inevitable
that the musical styles of 20th century Western composers found their way into Philippine
compositions.
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Pedro integrated indigenous musical forms, conventions, and instruments in his works in
the modern nationalistic style.
Hilarion Rubio was a Filipino composer, music teacher, conductor, and clarinetist. His
name was closely identified with his works for the orchestra, conductor for opera, ballet,
dance recitals, and music for movies. Col. Antonino Buenaventura promoted Philippine
music by extensively using folk materials in his works. He recorded folk and dance music
around the country with Ramon Tolentino and National Artist for Dance Francisca Reyes
Aquino. Buenaventura composed the music and did the notations for the folk dances as
researched by Aquino.
Rodolfo S. Cornejo was considered “the first Filipino composer who received an honory
degree from a government recognized music school in the United States.” He was known
for his “pianistic and compositional talent” by extemporizing a piano composition at the
spur of the moment. Felipe P. de Leon wrote piano compositions, hymns, marches, art
songs, chamber music, symphonic poems, overtures, band muic, school songs, orchestral
works, operas, kundimans and zarsuelas. He was known as a nationalist composer who
expressed the Philippines' cultural identity through his compositions.
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and more than 200 marches. He wrote 50 masses in Latin and 20 in English. He has more
than 1,000 musical compositions in the library of the University of the Philippines.
Alfredo Buenaventura is among the few composers in the Philippines who composed
five full-length operas. He has his own set of ideas about music and composition. He
created a combination of contemporary and conventional, kept his melodies simple and
understandable, but he used contemporary harmonies to suit the intellectuals.
Contemporary composer and conductor Ryan Cayabyab spans both popular and classical
worlds with his pop, ballads, operas, zarzuela, orchestral, and choral compositions.
WHAT TO KNOW
1. Discuss the lives and musical contributions of the following 20th century Filipino
composers:
a. Francisco Buencamino Sr. g. Rodolfo Cornejo
b. Francisco Santiago h. Felipe Padilla de Leon Sr.
c. Nicanor Abelardo i. Lucio San Pedro
d. Antonio Molina j. Rosendo Santos Jr.
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e. Hilarion Rubio k. Alfredo Buenaventura
f. Col. Antonino Buenaventura l. Ryan Cayabyab
2. Point out the characteristics of the musical style of the above-mentioned Filipino
composers.
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WHAT TO PROCESS
A. Listening Activity
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Buenaventura - Minuet, Mindanao Sketches, Divertimento for
Piano and Orchestra, Variations and Fugue,
and Greetings, Pandanggo sa Ilaw, Princesa
ng Kumintang, Pandanggo ni Neneng
e. Alfredo
Buenaventura - Maria Makiling (1961), Diego Silang(1966),
Prinsesa Urduha (1969); Ang Ating Watawat
(1965), Pasko ng Barangay (1964); Dakilang
Lahi (1971), Gomburza (1981), and Rizal, the
Great Malayan Antagonist (1990.
f. Rodolfo Cornejo - A la Juventud Filipina, Bailes de Ayer, Caprice
on a Folksong, Cello Sonata, Cello Sonata,
Ibong Adarna, Kandingan, Malakas at
Maganda Overture, Okaka, Oriental Fantasy,
Ibong Adarna, Piano Concerto Nos. 1,2,3,
Ruby, Song of the Miners,
g. Hilarion Rubio - Bulaklaken, Dance of the Nymphs Rondo,
Florente at Laura, Halik, Danza, Ang
Konsyerto (ballet), Ang Magsasaka, Bukang
Liwayway, Concertino in C (Marimba and
piano), Filipinas Kong Mahal, Hatulan Mo
Ako, Ginintuang Araw, In a Tropcal Sea,
Filipino Youth, Nela, Light, Narra, Mutya ng
Silangan
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Ang Bagong Balitaw, Himig ng Nayon,
Damdamin (Romance), and Pizzicato Caprice.
2. Listen carefully to each excerpt and recognize the different musical styles
of the composers.
3. Analyze the music. Take note of the elements of music present: rhythm,
melody, tempo, dynamics, texture, harmony, form, and timbre.
4. Choose a composition that you like. Write a short reaction paper on it in
relation to its musical elements.
1. After the above Listening Activity, your teacher will prepare selected excerpts
of compositions by Lucio San Pedro, Antonino Buenaventura, Alfredo
Buenaventura, Antonio Molina, Rodolfo Cornejo, Francisco Buencamino,
Hilarion Rubio, Rosendo Santos Jr, Francisco Santiago, Nicanor Abelardo,
Felipe Padilla de leon Sr., and Ryan Cyabyab.
2. The class will be divided into four teams, with each team forming a line.
3. As your teacher plays a few measures of the first excerpt, the first student
in each line goes to the board and writes the name of the composer. The
second student will write the title of the music. The third student will write
the musical style. Then, the fourth student will write a description of the
music in one phrase.
4. The team that writes the correct answers first, scores four (4) points.
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MUSIC Quarter III
5. The same procedure goes on until all the students in the line have had their
turn.
6. One student will be assigned as the scorer. The team with the highest score
is the winner. In case of a tie, the first team to finish is the winner.
7. The scorer will announce the winners and then asks them this question:
What was the most significant thing that you have learned from this activity?
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5. What motivated you to compose or adapt the music of that song?
WHAT TO PERFORM
A. Singing Activity
Individual or in groups: Sing any of the compositions of Lucio San Pedro, Col.
Antonino Buenaventura, Alfredo Buenaventura, Antonio Molina, Rodolfo
Cornejo, Francisco Buencamino Sr., Hilarion Rubio, Rosendo Santos Jr., Nicanor
Abelardo, Francisco Santiago, Felipe Padilla de Leon, and Ryan Cayabyab.
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6. You may bring a minus one music in CD, or from your mobile phone or on
USB.
7. You may improvise simple vocal or instrumental accompaniment/s to the
songs you have chosen.
8. You may explore ways of creating sounds as instrumental accompaniment
to the song from a variety of sources or from the environment.
9. Your teacher will choose the “Best Singing Group” based on musicianship
(musical elements) 60%, presentation impact and showmanship 20%,
ensemble coordination and organization 20%.
10. All students will evaluate by rating each other’s performance and their own
performance.
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Rating the other performers (if individual activity):
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1. Your teacher will divide the class into four groups. Each group choose a
traditional composer that was discussed in class. Research further on his
life and works.
5. Perform the musical in class. Your teacher will choose the “Best Group
Musical Performance” based on musicianship (musical elements) 50%,
audience impact and showmanship 20%, ensemble coordination and
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organization 20%, stage discipline or deportment 10%.
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Rating myself:
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MUSIC Quarter III
JOSE MACEDA
(1917 – 2004)
National Artist for Music
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Schmitz and earned a Doctorate Degree in Ethnomusicology
from UCLA.
Considered as the first Filipino avant garde composer, he also worked at a recording
studio in Paris in 1958 which specialized in musique concrète. During this period, he met
Pierre Boulez, Karlheinz Stockhausen, and Iannis Xenakis, considered the musical giants
of this musical genre.Maceda served as Professor of Piano and Musicology at the College
of Music, University of the Philippines from 1952 to 1990. He was appointed Executive
Director of its Center for Ethnomusicology in 1997. In the same year, he was conferred
the honor of National Artist for Music. He passed away in Manila on May 5, 2004.
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UDLOT-UDLOT (Excerpt)
Jose Maceda
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LUCRECIA R. KASILAG
(1918 – 2008)
National Artist for Music
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Among Kasilag’s many compositions are Toccata for Percussion and Winds (1959),
composed for indigenous Muslim instruments and Western instruments; The Legend of
the Sarimanok (1963), composed for chamber orchestra and Philippine ethnic instruments;
Divertissement and Concertante (1960), compositions for piano and orchestra combining
Western and Eastern forms, harmonies, and intervals; and Dularawan (1969), a musical
drama combining a dance solo with a chorus and an ethnic orchestra. Her other works
include compositions for piano, instrumental ensemble, and chorus.
She was equally admired in the academe as a former Dean of the College of Music and
Fine Arts, Philippine Women’s University. In the cultural field, she was the President of
the Cultural Center of the Philippines. In the dance circles, she was the President and
Music Director of the Bayanihan Dance Company. She also served as Chairman of the
Asian Composers’ League and the League of Filipino Composers.
She is credited for having written more than 200 musical works, ranging from folksongs
to opera to orchestral works, which she continued to compose for the rest of her life. For
all these outstanding achievements, she was conferred the title of National Artist for
Music in 1989. She passed away in Manila in August 2008.
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DIVERTISSEMENT (Excerpt)
Lucrecia R. Kasilag
Edited
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RAMON P. SANTOS
(1941 – )
National Artist for Music
Santos’ compositional style features chromaticism, music seria, and electronic components,
combined with indigenous Philippine music elements. His works include Ding Ding Nga
Diyawa, Nabasag na Banga at Iba’t iba pang Pinag-ugpong-ugpong na Pananalita sa
Wikang Pilipino para sa Labing Anim na Tinig, and L’BAD. He had done extensive
research on the gamelan music of Java as well as the traditional music of the Ibaloi,
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Maranao, Mansaka, Bontoc, Yakan, and Boholano tribes in the Philippines.
Santos held the position of Dean of the UP College of Music from 1978 to 1988. At
present, he is the head of the UP Center of Ethnomusicology and was appointed Professor
Emeritus of the same institution. He was conferred the title of National Artist for Music
in 2014.
L’BAD
Ramon P. Santos
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After finishing his Bachelor of Music degree major in Piano at the Conservatory of Music,
University of Sto. Tomas (UST), Fr. Maramba pursued his studies abroad where he
received his Master of Music degree, Artist Diploma, Bachelor of Music degree in
Composition, and Teacher’s Certificate in Theory from the Peabody Conservatory of
Johns Hopkins University, USA. He received a Master’s degree of Musical Arts in
Performance from Yale University’s School of Music, USA. He also studied sacred music
at the Kirchenmusikschule in Regensburg, Germany. He took further lessons in piano,
organ, and the harpsichord at the Hochschule fur Musik in Vienna, Austria.
Fr Maramba is a monk at Our Lady of Montserrat Abbey in Manila. He was the former
director of the Paul VI Institute of Liturgy in Malaybalay, Bukidnon during which he
composed the music for the papal mass. A prominent canon lawyer, he served on the
National Appellate Matrimonial Tribunal. He was also a faculty member at the UST
Conservatory of Music, St. Scholatica’s College, and Sta. Isabel College.
He has composed operas like Aba!, Sto. Nino, La Naval, and Lord Takayama Ukon. His
other major compositions are the music for Awakening which was commissioned by
Ballet Philippines and music for Philippine Ballet Theater’s production of Seven Mansions;
three masses – Papal Mass for World Youth Day, 1995; Mass in Honor of St. Lorenzo
Ruiz, and the Mass in Honor of the Sto. Nino; three cantatas – St. Lorenzo Ruiz, St.
Benedict, and St. Scholastica; Three Psalms; A hymn in honor of St. Lorenzo Ruiz, and
the official hymn of the 1996 National Eucharistic Congress; a zarzuela entitled Ang
Sarswela sa San Salvador, and three orchestral works – Pugad Lawin, The Virgin of
Naval, and Transfiguration.
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Contemporary Philippine Music
JERRY DADAP
(1935 – )
Dadap started composing when he was still studying at Silliman University in the southern
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city of Dumaguete. Among his numerous compositions are The Passionate and the Wild
(1960), Mangamuyo I (1976) and Mangamuyo II (1977), The Redemption (1974), Five
Little Fingers (1975), Tubig ng Buhay (1986), Dakilang Pagpapatawad (1986), Andres
Bonifacio, Ang Dakilang Anak Pawis, Ang Pag-ibig ng Diyos, Balitaw Nos. 1-7, Lam-
ang Epic, Lorenzo Ruiz, Chorale Symphonic Ode Nos. 1 and 2, Aniway at Tomaneg,
Song Cycle, Nos. 1-4, Choral Cycle Nos. 1-3, and Diyos Ama ay Purihin. His major
works as composer-conductor were performed at the concert “LAHI” that featured works
by local major composers.
FRANCISCO F. FELICIANO
(1942 – 2014)
National Artist for Music
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Feliciano became the choir conductor and instructor in music fundamentals at St. Andrews
Seminary in Quezon City. He became an instructor at the UP Conservatory of Music and
conducted the UP Symphony Orchestra. He was the musical director of the movie Ang
Bukas ay Atin and provided orchestration for a number of musical productions including
My Fair Lady and various Philippine productions. Feliciano composed more than 30
major works, including the musical dramas Sikhay sa Kabila ng Paalam, Ashen Wings,
and the monumental three-act opera La Loba Negra (1984). He also wrote music for the
orchestra such as Prelude and Toccata (1973), Fragments (1976), Life of Wartime Filipino
Hero Jose Abad Santos, and the ballet Yerma (1982).
Among his other large works are Transfiguration and Missa Mysterium for orchestra
and large chorus. He has composed several prize winning works such as Pokpok Alimpako,
(a favorite piece of choirs in international choral competitions), Salimbayan, Umiinog,
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and Walang Tinag (Perpetuum I mobile) which was premiered at the ISCM Festival in
New York City, USA. His latest choral works, Pamugún and Restless, have been performed
by Filipino choirs in various choral festivals in Europe. In 1977, he was given a John D.
Rockefeller III Award in Music Composition.
Feliciano composed hundreds of liturgical pieces, mass settings, hymns, and songs for
worship. He founded the Asian Institute for Liturgy and Music (AILM) in Quezon City,
a school for church musicians, and supervised the publication of a new Asian hymnal
containing mostly works of Asian composers. He was conferred the title of National
Artist for Music in 2014. He died on September 19, 2014.
JOSEFINO TOLEDO
(1959 – )
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Contemporary Philippine Music
Toledo served at the Pangkat Kawayan (a bamboo orchestra) from 1966 to 1979 and the
Philippine Youth Orchestra (PYO) in 1977-1978. A principal percussionist of the Manila
Symphony Orchestra in 1980-1983, he later became music director and principal conductor
in 1985. He attended the 1984 International Computer Music Conference in France. He
was the country’s representative to the 1980 Young Composers Conference in HongKong,
the ASEAN Composers Forum on Traditional Music in 1989 (Philippines) and 1993
(Singapore), the 1995 ASEAN Composers Workshop (Indonesia), and the 1996
International Composers Workshop (Gaudeamus, Amsterdam). He was also a fellow at
the 1990 Pacific Music Festival and Pacific Composers Conference (Japan).
Toledo is a Music Professor at the College of Music, University of the Philippines (UP).
He is the founding music director of the Metro Manila Community Orchestra, the UP
Festival Orchestra, and the Crosswave Symphony Orchestra. He is noted for conducting
the premiere performances of the works of Filipino composers as well as other Asian
composers. His own music, including works for chorus, orchestra, chamber ensemble,
solo instrument, and music theater have been performed by well-known international
artists and ensembles.
AUIT
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(Excerpt)
Josefino Toledo
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MUSIC Quarter III
JONAS BAES
(1961 – )
Baes is known for writing music utilizing unorthodox musical instruments such as bean-
pod rattles, leaves, iron-nail chimes, and various Asian instruments such as bamboo
scrapers, bamboo flutes, and vocal music using Asian vocal techniques. His early works
in the 1980s were influenced by Maceda in the use of large numbers of performers.
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In the 1990s, he experimented with various methods by which the audience became
integral in the performance. It was also typical for social theory to influence the work of
Baes who has made a mark on contemporary music and cultural politics in the Asian
region.
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Contemporary Philippine Music
SUMMARY
Jose Maceda’s musical style shifted when he encountered the music of the indigenous
tribes of Mindoro in 1953. He then embarked on his life’s work, dedicated to the
understanding and preservation of Filipino traditional music. His extensive research and
fieldwork resulted in an immense collection of recorded music taken from the remote
mountain villages and far-flung inland communities in the Philippines.
Ramon Santos’ compositional style features chromaticism, music seria, and electronic
components, combined with indigenous Philippine music elements.
Fr. Manuel Maramba OSB, one of the most accomplished musicians in the Philippines,
is best known as a liturgical composer whose body of works lean towards religious
figures and events. His versatility as a pianist, composer, arranger, theorist, and teacher
is widely recognized in the local musical scene.
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Jerry Dadap, the first Filipino composer to conduct his own works at the Carnegie
Recital Hall in New York City,
Francisco Feliciano is one of Asia’s leading figures in liturgical music, having composed
hundreds of liturgical pieces, mass settings, hymns, and songs for worship. At the Asian
Institute for Liturgy and Music, a school for church musicians which he founded, he
supervised the publication of a new Asian hymnal containing mostly works of Asian
composers.
Josefino Toledo is the founding music director of the Metro Manila Community Orchestra,
the UP Festival Orchestra, and the Crosswave Symphony Orchestra. He is noted for
conducting the premiere performances of the works of Filipino composers as well as
other Asian composers. His own music has been performed by well-known international
artists and ensembles.
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MUSIC Quarter III
WHAT TO KNOW
2. Discuss the lives and works of following 20th century Filipino composers and
performers:
3. Point out the characteristics of the musical style of the above-mentioned Filipino
composers.
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________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
________________ _____________________________________________
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Contemporary Philippine Music
WHAT TO PROCESS
A. Listening Activity
c. Josefino Toledo - 2nd Og-og; Abe; Ako ang Daigdig; Alitaptap; Aliw-
iw; Awiting Bayan; Barasyon; Asia; Kah-non; Humigit Kumulang;
Lima; Mi-sa; Missa de gallo; Oyog-Oyog; Musika para sa; Pasyon
at Buhay; Pompyang; Pintigan; Pilipino Komiks; Sigaw; Tatluhan;
Auit, Ub-og; Ug-nay; Tula-li
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d. Francisco Feliciano - Sikhay sa Kabila ng Paalam; Ashen Wings;
La Loba Negra; Prelude and Toccata ; Fragments; Yerma; The life
of wartime Filipino hero, Jose Abad Santos; Transfiguration; Missa
Mysterium; Pokpok Alimpako; Salimbayan; Umiinog, Walang Tinag;
Pamugún and Restless
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2. Listen carefully to each excerpt and be able to recognize the different musical
elements and styles of the composers.
3. Analyze the music focusing on the elements of music present, such as rhythm,
melody, tempo and dynamics, texture and harmony, form, and timbre.
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“Name the Composer, Title of the Music, Musical Style, and Description”
1. After the above ListeningActivity, your teacher will prepare selected excerpts
of compositions by the following: Josefino Toledo, Ramon Santos, Jose
Maceda, Fr. Manuel Maramba, Lucrecia Kasilag, Francisco Feliciano, Jerry
Dadap, and Jonas Baes.
2. The class will be divided into four teams, with each team forming a line.
3. As your teacher plays a few measures of the first excerpt, the first student
in each line goes to the board and writes the name of the composer. The
second student will write the title of the music. The third student will write
the musical style. Then, the fourth student will write a description of the
music in one phrase.
4. The team that writes the correct answers first, scores four (4) points.
5. The same procedure goes on until all the students in the line have had their
turn.
6. One student will be assigned as the scorer. The team with the highest score
is the winner. In case of a tie, the first team to finish is the winner.
7. The scorer will announce the winners and then asks them this question:
What was the most significant thing that you have learned from this activity?
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Contemporary Philippine Music
WHAT TO PERFORM
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Creating and Performing Activities: Musical
1. Your teacher will divide the class into four groups. Each group choose a
traditional composer that was discussed in class. Research further on his
life and works.
2. Create a contemporary musical on the life of your chosen composer.
Incorporate some of his compositions (melodic fragments) in the musical
and story.
3. Improvise simple vocal or instrumental accompaniments (example: guitar,
keyboard, percussion) to the songs that you have chosen.
4. Explore ways of creating sounds as accompaniment on a variety of sources
or from the environment for the creation of the musical.
5. Perform the musical in class. Your teacher will choose the “Best Group
Musical Performance” based on musicianship (musical elements) 50%,
audience impact and showmanship 20%, ensemble coordination and
organization 20%, stage discipline or deportment 10%.
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MUSIC Quarter III
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h. style __________
i. acting __________
Rating myself:
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Contemporary Philippine Music
SONG COMPOSERS
LEVI CELERIO
(1910 – 2002)
National Artist for Literature and Music
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kundimans and Filipino love songs have lyrics written by
him, most notable of which are Dahil sa Iyo, Buhat, and
Ang Pasko ay Sumapit.
Celerio was born in Tondo on April 30, 1910. He studied at the Academy of Music in
Manila under a scholarship. Later, he went on to join the Manila Symphony Orchestra.
Aside from writing his own lyrics, he also translated and re-wrote the lyrics of folksongs
to traditional melodies like Maliwanag Na Buwan from Ilocos, Ako ay May Singsing
from Pampanga, and Alibangbang from the Visayas.
His achievements include a citation in the Guinness Book of World Records for being the
only person to make music with a mouth-blown leaf. He will forever be remembered
through his lyrics for songs such as Ang Pipit (music by Lucio D. San Pedro); Bagong
Pagsilang (music by Felipe Padilla de Leon); Sa Ugoy ng Duyan (music by Lucio D. San
Pedro); Misa de Gallo (music by J. Balita); Itik-itik (folk song); Tinikling (folk song),
among others. Celerio passed away on April 2, 2002.
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MUSIC Quarter III
CONSTANCIO DE GUZMAN
(1903 – 1982)
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In 1948, his song Ang Bayan Ko and Kung Kita’y Kapiling won the gold medal at the
Paris International Fair. Bayan Ko was later adopted as the symbolic song of the People
Power Movement of 1986. The same song won for him the Awit Award for Best Filipino
Lyricist. Some of De Guzman’s notable compositions include Babalik Ka Rin, Ang Tangi
Kong Pag-ibig, Birheng Walang Dambana, Maalaala Mo Kaya, and Sa Piling Mo. De
Guzman passed away on August 16, 1982.
Miguel “Mike” Guison Velarde Jr, composer, conductor, movie actor, and musical
director was born in Manila on October 23, 1913 as the second of two children of Dr.
Miguel Velarde, Sr. and Dolores Guison. His family moved to Zamboanga when he was
only one year old and where he spent the succeeding eighteen years of his life. His exposure
to the unaffected and unpretentious environment of Basilan and Zamboanga had influenced
his creative imagination, mainly nurtured by his mother who became his first music teacher
in piano and violin when he was six years old.
Velarde studied at the Zamboanga Normal School, where he became a member of the
school orchestra and graduated as valedictorian. He then went to Manila to pursue
medicine at the University of the Philippines, but later realized that it was music that he
truly loved. He learned the basics of harmony and composition from Antonio Molina
and Ariston Avelino as he further deepened his musical knowledge through self-study.
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Contemporary Philippine Music
Later, when his father however objected to his plans to pursue a music career, he went on
to support himself as a bus conductor to realize his dream. He later got a job at a radio
station where he was featured as singer and jazz composer in its morning and evening
programs. He also opened a jazz school and became song editor for the Philippines Free
Press.
Velarde eventually went into writing Tagalog songs, composing the song Ugoy-Ugoy
Blues which opened opportunities for him in the movies. He had a jazz band known as
“Mike Velarde’s Jazztocrats.” He became editor of the Literary Song Movie Magazine.
Velarde composed musical scores for Sampaguita Films’ movie productions and managed
its advertising department. Among his most important works were Luksang Tagumpay,
which received the FAMAS (Filipino Movie Arts and Sciences) Award for Best Picture
(1960) and for which he wrote its story and screenplay, and Alaala Kita for Best Director
(1961). He attributes substantive influence from American composer and songwriters
Irving Berlin and Cole Porter.
In subsequent years, Velarde created his own style as he composed highly melodious and
romantic songs such as Ikaw, Lahat ng Araw, Habang Buhay, Minamahal Kita , Ikaw ay
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Akin, and Dahil Sa Iyo. In 1970, he won the Best Conductor award at the First International
Popular Song Contest in Japan with his composition As Long as Forever. He received
the Cultural Achievement Award in Popular Music from the Philippine Government
Cultural Association in 1975 and the Gawad CCP Para Sa Sining in 1986. His other
compositions include Buhat, Ikaw, Bituing Marikit, Minamahal Kita, Dating Sumpaan,
Dalisay, Eternally Yours, and Gabi at Araw. Velarde passed away in 1986.
SANTIAGO SUAREZ
(1901 – 1964)
Santiago Suarez was born in Sampaloc, Manila. He learned how to play the piano from
his grandmother who was also a competent harpist, while his grandfather played the
flute. He attended the Conservatory of Music, University of the Philippines and the Ateneo
de Manila in Intramuros. He took private music lessons from Caetano Jacobe, Pedro
Floriaga, and Nicanor Abelardo.
Suarez’s compositions are a mixture of the soulful kundiman style and the lively strains
of the countryside. The melodies are tonal and catchy, while the rhythms follow the
regular meter with minimal tempo changes. His harmonies follow the traditional classical
progression, making his compositions easy to understand without the complexities of
form and structure. Some of his works are quite popular and heard even with today’s
classical singers, pop singers, and choral groups. They include the following: Ligaya Ko,
Pandanggo ni Neneng, Dungawin mo Hirang, Bakya Mo Neneng, Caprichosa, Sa Libis
ng Nayon, Harana, Kataka-taka, Labandera Ko, Lakambini, Kamia, Ikaw ang Buhay
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Ko!, Kay Lungkot nitong Hating-Gabi, and Mutya Niyaring Puso. Suarez passed away
in 1964.
Restituto Aquino Umali was born in Paco, Manila on June 16, 1916. His early exposure
to music was due to the influence of his father who taught him violin as well as his
exposure to the regular family rondalla. He was also taught solfeggio and score reading
at the Mapa High School where he became an active member of the school glee club and
orchestra.
Umali played the E-flat horn, trombone, and tuba when he was part of the UST (University
of Santo Tomas) Band. He also taught choral arranging and orchestration at the UST
Conservatory of Music. He majored in Composition and Conducting at the Conservatory
of Music, University of the Philippines (UP) and Commerce at the Jose Rizal College.
He even passed an electrician’s course at the Philippine School of Arts and Trades before
embarking on a rewarding career as musical scorer for movies.
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During World War II, Umali took lessons in harmony from Felipe Padilla de Leon. Shortly
after the war, he performed with the Manila Symphony Orchestra. He continued his
studies in composition and conducting even while teaching at the UP Conservatory of
Music. He was under the tutelage of noted composers such as Lucrecia Kasilag, Antonio
Buenaventura, and Ramon Tapales.
Umali arranged the Philippine national anthem and the local classic Kataka-taka for the
Boston Pops Orchestra when it performed for the Philippine Independence Night in
Boston in 1972. He composed approximately 120 movie theme songs and more than
250 scores for movies. His musical scoring career was capped by a Universal Pictures’
production of No Man Is An Island starred by Jeffrey Hunter and Barbara Perez. His
musical scores for the movies Sa Bawat Pintig ng Puso (1964), Pinagbuklod ng Langit
(1969), Mga Anghel na Walang Langit (1970), and Ang Alamat (1972) won for him
“Best Musical Score” honors at the Filipino Academy of Movies Arts and Sciences
(FAMAS Awards). He also garnered the “Best Music Awards” for Bitter-Sweet at the
1969 Manila Film Festival and Ang Agila at Ang Araw at the 1973 Olongapo Film Festival.
Among Umali’s most popular songs are Saan Ka Man Naroroon, Alaala ng Lumipas,
Ang Pangarap Ko’y Ikaw, Sa Libis ng Barrio, Di Ka Nag-iisa, and Paano Kita Lilimutin.
He had arranged the performance of Maestro Federico Elizalde’s Manila Little Symphony
aired on radio stations DZRH and DZPI, apart from his stint as musical director fof
Sampaguita Pictures.
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Contemporary Philippine Music
BAYAN KO (Excerpt)
Constancio de Guzman, music / Corazon de Jesus, lyrics
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MUSIC Quarter III
ANGEL PEÑA
(1921 – 2014)
Peña wrote his first original jazz composition just before World War II erupted. He also
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wrote kundimans for the young women he would be courting. After the war, he became
one of the most sought-after musical arrangers in Manila. He had also switched from
guitar to bass. This switch led him to write orchestral background music for various
musical ensembles.
He also wrote musical scores for film companies, most notably LVN Pictures. As his
interest in classical composition grew more intense, he formed a big band in 1956 for the
Upsilon Sigma Phi’s traditional concert at the University of the Philippines. During that
time, he composed Bagbagtulambing, a landmark in Philippine music.
Peña auditioned for the Honolulu Symphony Orchestra. He was immediately accepted
as bassist and later as arranger in 1969. He would spend the next 28 years in Hawaii,
where he continued to write his own music. As farewell homage, the Manila Symphony
Orchestra performed his Concerto for Double Bass and Orchestra. In 1981 on the occasion
of the 75th anniversary of Filipino presence in Hawaii, the Honolulu Symphony premiered
his Concerto for Jazz Quartet and Orchestra with an all-star Filipino jazz quartet.
The following year, the Cultural Center of the Philippines performed a concert of his
classical works in his honor. Despite of his absence from Manila, local jazz groups
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Contemporary Philippine Music
continued to play his compositions. The seeds that he had sown began to bear fruit. Now,
a new generation of Filipino musicians are starting to discover the composer. When he
finally came back to the Philippines, he started teaching scholars in Double Bass as an
adjunct faculty member of the UP College of Music. He started collaborating with the
UP Jazz Ensemble on a number of concerts.
In 1998, a House Resolution from the State of Hawaii’s House of Representatives was
passed to honor Peña for his contributions in the field of music as a world renowned jazz
musician, musical arranger, and Hawaii’s own living classical composer. The Jazz Society
of the Philippines-USA further gave him a Lifetime Achievement Award at the Third
Annual Fil-Am Jazz Festival in Hollywood. Pena passed away on December 22, 2014.
ERNANI CUENCO
(1936 – 1988)
National Artist for Music
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Ernani Joson Cuenco, composer, film scorer, musical
director and music teacher, was conferred the National Artist
Award for Music in 1999. His works embody a Filipino sense
of musicality that contain the classical sound of the kundiman.
From 1960 to 1968, Cuenco was a cellist at the Manila Symphony Orchestra under Dr.
Hubert Zipper. Likewise, he played for the Filipino Youth Symphony Orchestra and the
Manila Chamber Soloists from 1966 to 1970.
His career as a musical director began in 1960 when he was discovered by then actor
Joseph Estrada while he was playing as part of a band he had formed with friends at an
exclusive restaurant in Makati. In 1963, Cuenco was sent as a delegate to the International
Music Conference in Tokyo, Japan. Aside from being a composer and musical director,
he was also a faculty member at the UST Conservatory of Music until his death on July
11, 1988.
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To this day, Cuneco’s compositions are popular and well-loved, especially Gaano Ko
Ikaw Kamahal and Bato sa Buhangin which he composed for films in honor of his wife.
Aside from these signature pieces, Cuenco’s other songs include Nahan, Kahit na Magtiis,
Diligin Mo ng Hamog ang Uhaw na Lupa, Pilipinas, Inang Bayan, Isang Dalangin, and
Kalesa.
GEORGE CANSECO
(1934 – 2004)
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Former First Lady Imelda R. Marcos to compose a national
tribute hymn entitled Ako Ay Pilipino (I Am A Filipino). He
wrote the classic Kapantay Ay Langit, a theme from the award-
winning motion picture of the same title, sung by Amapola. Its
English version entitled You’re All I Love containing some Tagalog lyrics was sung by
American singer Vic Dana. The song won the Manila Film Festival “Best Song of the
Year Award” in 1972. He followed it with an English song entitled Songs exclusively for
Songs and Amapola under the Vicor Music Corporation Pioneer Label.
One of his best-known compositions was Child, the English-language version of Freddie
Aguilar’s signature song Anák. He wrote songs for the country’s top popular singers
such as Sharon Cuneta, Basil Valdez, Regine Velasquez, Zsa Zsa Padilla, Pilita Corrales,
Martin Nievera, and Kuh Ledesma.
Canseco credited film producer and Vicor Music Corporation owner Vic del Rosario for
giving him his biggest break in the music industry. He was elected President of the Filipino
Society of Composers, Authors and Publishers, Inc. (FILSCAP) in 1973. He was also
elected as Councilor for the First District of Quezon City in 1988.
His legacy as a composer include approximately 120 song titles including Ikaw, Kailangan
Kita, Dito Ba, Hiram, Tubig at Langis, Hanggang sa Dulo ng Walang Hanggan,
Sinasamba Kita, Kastilyong Buhangin, Minsan Pa Nating Hagkan ang Nakaraan,
Ngayon at Kailanman, Saan Darating ang Umaga, Sana Bukas Pa ang Kahapon, Dear
Heart, Gaano Kadalas ang Minsan, Paano kita Mapapasalamatan, and Kahapon
Lamang. He passed away on November 19, 2004 in Manila.
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Leopoldo Silos Sr., music / Levi Celerio, lyrics
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MUSIC Quarter III
Accordingly, the music of Silos touches the sentiment quite deeply. His lyrical melodies
are complemented by exotic harmonies. His melodies were made more appealing through
their extended chords, diminished intervals, and secondary dominants. Thus, that enriched
the otherwise basic chordal patterns accompanying a tonal melody. Although not as widely
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performed as other mainstream love songs and kundimans, his music always impresses
the listener with its melodic sincerity and elegantly crafted accompaniments. The other
notable compositions of Silos include Aling Kutsero, Ay Anong Saklap, Basta’t Mahal
Kita, Diyos Lamang ang Nakakaalam, Hindi Ko Malilimutan, Lagi kitang Naaalala,
Langit sa Lupa, Halina Halina, Lihim na Pag-ibig, and Mundo Ma’y Mawala. He died
on March 10, 2015.
SUMMARY
Song composers became popular with their musical compositions used as musical
background or theme songs in movies and films.
Levi Celerio made it to the Guinness Book of World Records for being the only person
to make music with a leaf. He received numerous awards for his musical achievements in
film.
Mike Velarde Jr. was a composer, conductor, and musical director. He composed the
popular song Dahil Sa Iyo in 1938. In 1975 the Philippine Government Cultural
Association awarded him the Cultural Achievement Award in Popular Music. He received
the Gawad CCP Para Sa Sining in 1986.
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Contemporary Philippine Music
Ernani Cuenco was a composer, film scorer, musical director, and music teacher. He
was hailed as a National Artist in Music in 1999. His works embody the Filipino sense of
musicality. The classical sound of the kundiman is evident in some of his ballads. Up to
this day, his compositions are popular and well-loved.
Restie Umali was a composer, teacher, and musical arranger. He arranged the Philippine
national anthem and the local classic Kataka-taka for the Boston Pops Orchestra when it
performed for the Philippine Independence Night in Boston in 1972. He wrote a total of
more or less120 movie theme songs. He composed more than 250 scores for movies
which was capped by a Universal Pictures production of No Man Is An Island starred by
Jeffrey Hunter and Barbara Perez.
Angel Peña is a classical and jazz composer, musical arranger, and bass player. He is
widely considered by modern Filipino jazz musicians as “one of the founders of traditional
jazz in the Philippines.”
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Leopoldo Silos Sr. was a composer, singer, and musical arranger. He composed and
recorded romantically soulful songs. He was the award winning musical director of the
television musical Aawitan Kita.
Santiago Suarez was an accomplished composer of traditional Filipino love songs. His
popular works include Dungawin Mo Hirang, Bakya Mo Neneng, Caprichosa, Sa Libis
ng Nayon, and Kataka-taka.
WHAT TO KNOW
1. Discuss the lives and musical contributions of the following 20th century
Filipino song composers
2. For each of the composers named above, give the title of any of his
compositions.
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MUSIC Quarter III
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WHAT TO PROCESS
A. Listening Activity
1. Your teacher will play excerpts of recordings of any of the following works
by Filipino song composers:
b. Constancio
de Guzman - Bayan Ko, Babalik Ka Rin, Ang Tangi Kong Pag-
ibig, Birheng Walang Dambana, Maalaala Mo
Kaya, Sa Piling Mo, Ang Langit ko’y Ikaw
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electronic or mechanical including photocopying without written permission from the DepEd Central Office.
Contemporary Philippine Music
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g. Angel Peña - Bagbagtulambing, Igorot Rhapsody, Concerto for
Double Bass and Orchestra, Concerto for Jazz
Quartet and Orchestra
2. Listen carefully to each excerpt and be able to recognize the different musical
styles of the composers.
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electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Quarter III
3. Analyze the music and take note of the elements of music present, such as
rhythm, melody, tempo and dynamics, texture and harmony, form, and
timbre.
1. After the above Listening Activity, your teacher will prepare selected excerpts
of compositions by the following: Celerio, De Guzman, Velarde, Cuenco,
Umali, Canseco, Peña, Silos, and Suarez.
2. The class will be divided into four teams, with each team forming a line.
3. As your teacher plays a few measures of the first excerpt, the first student
in each line goes to the board and writes the name of the composer. The
second student will write the title of the music. The third student will write
the musical style. Then, the fourth student will write a description of the
music in one phrase.
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4. The team that writes the correct answers first, scores four (4) points.
5. The same procedure goes on until all the students in the line have had their
turn.
6. One student will be assigned as the scorer. The team with the highest score
is the winner. In case of a tie, the first team to finish is the winner.
7. The scorer will announce the winners and then asks them this question:
What was the most significant thing that you have learned from this activity?
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Contemporary Philippine Music
WHAT TO PERFORM
1. Your group will choose any song composers. You research further on his
compositions, if needed.
2. Select three compositions that you like best or you are familiar with or you
may learn a new song. Choose your musical director.
3. Sing the three (3) minutes medley in class with your groupmates interpreting
the music with appropriate pitch, rhythm, style, timbre, dynamics, melody,
texture, harmony, and expression.
4. You may bring an instrumental accompaniment like guitar, flute, recorder,
maracas, tambourine, or keyboard.
5. You may bring a minus one music in CD, or from your mobile phone, or
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USB.
6. You may improvise simple vocal or instrumental accompaniment/s to the
songs you have chosen.
7. You may explore ways of creating sounds as instrumental accompaniment
to the song from a variety of sources or from the environment.
8. Your teacher will choose the “Best Singing Group” based on musicianship
(musical elements) 60%, presentation impact and showmanship 20%,
ensemble coordination and organization 20%.
9. All students will evaluate by rating each other’s performance and their own
performance.
1. Your teacher will divide the class into four groups. Each group choose a
song composer that was discussed in class. Research further on his life and
works.
2. Create a contemporary musical on the life of your chosen composer.
Incorporate some of his compositions (melodic fragments) in the musical
and story.
3. Improvise simple vocal or instrumental accompaniments (example: guitar,
keyboard, percussion) to the songs that you have chosen.
4. Explore ways of creating sounds as accompaniment on a variety of sources
or from the environment for the creation of the musical.
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electronic or mechanical including photocopying without written permission from the DepEd Central Office.
MUSIC Quarter III
5. Perform the musical in class. Your teacher will choose the “Best Group
Musical Performance” based on musicianship (musical elements) 50%,
audience impact and showmanship 20%, ensemble coordination and
organization 20%, stage discipline or deportment 10%.
2. How well did the performers sing and act in the musical
based on the following:
a. voice quality __________
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b. expression __________
c. stage presence __________
d. audience impact __________
e. mastery of the musical __________
g. musical elements (rhythm, melody, dynamics) __________
h. technique __________
i. showmanship __________
j. acting __________
Rating myself:
1. How well did I express the message of the musical? __________
2. How well did I perform with my group? __________
3. How well did I coordinate with the other members
during the performance in the ensemble? __________
4. How well did I cooperate in the ensemble? __________
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electronic or mechanical including photocopying without written permission from the DepEd Central Office.