Horizons: Grade 10

HORIZONS
Grade 10
Teacher’s Guide
Music and Arts Appreciation

for Young Filipinos
Raul M. Sunico, Ph.D.

Evelyn F. Cabanban
Melissa Y. Moran
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Department of Education
Republic of the Philippines
All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means -
electronic or mechanical including photocopying without written permission from the DepEd Central Office.
HORIZONS Grade 10
Teacher’s Guide
Music and Arts Appreciation for Young Filipinos
ISBN 978-971-793-022-0
Philippine Copyright 2015

by Tawid Publications
All rights reserved. No part of this book may be reproduced or transmitted in any form or by any
means—electronic or mechanical, including photocopying, recording, or any information storage
or retrieval system without prior written permission from the publisher.
Published by
Tawid Publications
102 B. Gonzales St., Xavierville II
Loyola Heights, Quezon City 1108
Metro Manila, Philippines
(+63-2) 453-7918
tawidcorp@yahoo.com; tawidpub@gmail.com
Editorial Board
Editors:
Evelyn F. Cabanban
Melissa Y. Moran
Milagros P. Valdez, language reader
Coordinator: Evelyn F. Cabanban
Cover Design: Rowena E. Cabanban

Cover Art and Divider Art: Joe Dureza
ii
TABLE OF CONTENTS
MUSIC
Quarter I MUSIC OF THE 20th CENTURY ............................................... 1
Impressionism to Modern Nationalism ........................................... 2
Electronic Music and Chance Music................................................. 12
Quarter II AFRO-LATIN AMERICAN AND POPULAR MUSIC.............. 19
African Music and Latin American Music........................................ 20
Jazz, Popular Music, and OPM .................................................... 29
Quarter III CONTEMPORARY PHILIPPINE MUSIC ................................. 36
Traditional Composers ............................................................. 37
New Music Composers ............................................................. 46
Song Composers ............................................................. 53
Quarter IV 20th and 21st CENTURY MULTIMEDIA FORMS.................... 61
Opera in the Philippines.................................................................... 62
Ballet in the Philippines .................................................................... 71
Philippine Musical Plays................................................................... 78
iii
ARTS
Quarter I MODERN ART ............................................................................... ..90
Impressionism ............................................................................... 91
Expressionism: A Bold New Movement........................................... 97
Abstractionism .................................................................................. 101
Abstract Expressionism, Pop Art, Op Art ......................................... 105
Installation and Performance Art ................................................... 111
Quarter II TECHNOLOGY-BASED ART ................................................... 117
Computer / Digital Art ................................................... 118

Mobile Phone Art / Computer-generated Images ............................. 123
Digital Photography ................................................... 127
Video Games / Digital Painting / Imaging Videos............................ 131
Quarter III MEDIA-BASED ARTS AND DESIGN

IN THE PHILIPPINES ............................................................ 137
Photography ...................................................................................... 138

Film ................................................................................................... 143
Animation / Comics Illustration / Digital Print Media...................... 147
Innovation in Product and Industrial Design..................................... 155
Quarter IV ORIGINAL PERFORMANCE

WITH THE USE OF MEDIA ................................................... 162
Philippine Theater and Performing Groups ..................................... 163

Culminating Activity: Staging an Original Performance.................. 168
Music Glossary ........................................................................................................ 172

Music Pronunciation Guide ..................................................................................... 175
Arts Glossary .......................................................................................................... 176

Arts Pronunciation Guide ........................................................................................ 179
Music Bibliography ................................................................................................. 180

Arts Bibliography..................................................................................................... 181
iv
MUSIC
Grade 10
Teacher’s Guide
HORIZONS Grade 10
Teacher’s Guide
Music and Arts Appreciation for Young Filipinos
ISBN 978-971-793-022-0
Philippine Copyright 2015

by Tawid Publications
All rights reserved. No part of this book may be reproduced or transmitted in any form or by any
means—electronic or mechanical, including photocopying, recording, or any information storage
or retrieval system without prior written permission from the publisher.
Published by
Tawid Publications
102 B. Gonzales St., Xavierville II
Loyola Heights, Quezon City 1108
Metro Manila, Philippines
(+63-2) 453-7918
tawidcorp@yahoo.com; tawidpub@gmail.com
Editorial Board
Editors:
Evelyn F. Cabanban
Melissa Y. Moran
Milagros P. Valdez, language reader
Coordinator: Evelyn F. Cabanban
Cover Design: Rowena E. Cabanban

Cover Art and Divider Art: Joe Dureza
ii
TABLE OF CONTENTS
MUSIC
Quarter I MUSIC OF THE 20th CENTURY ............................................... 1
Impressionism to Modern Nationalism ........................................... 2
Electronic Music and Chance Music................................................. 12
Quarter II AFRO-LATIN AMERICAN AND POPULAR MUSIC.............. 19
African Music and Latin American Music........................................ 20
Jazz, Popular Music, and OPM .................................................... 29
Quarter III CONTEMPORARY PHILIPPINE MUSIC ................................. 36
Traditional Composers ............................................................. 37
New Music Composers ............................................................. 46
Song Composers ............................................................. 53
Quarter IV 20th and 21st CENTURY MULTIMEDIA FORMS.................... 61
Opera in the Philippines.................................................................... 62
Ballet in the Philippines .................................................................... 71
Philippine Musical Plays................................................................... 78
iii
ARTS
Quarter I MODERN ART ............................................................................... ..90
Impressionism ............................................................................... 91
Expressionism: A Bold New Movement........................................... 97
Abstractionism .................................................................................. 101
Abstract Expressionism, Pop Art, Op Art ......................................... 105
Installation and Performance Art ................................................... 111
Quarter II TECHNOLOGY-BASED ART ................................................... 117
Computer / Digital Art ................................................... 118

Mobile Phone Art / Computer-generated Images ............................. 123
Digital Photography ................................................... 127
Video Games / Digital Painting / Imaging Videos............................ 131
Quarter III MEDIA-BASED ARTS AND DESIGN

IN THE PHILIPPINES ............................................................ 137
Photography ...................................................................................... 138

Film ................................................................................................... 143
Animation / Comics Illustration / Digital Print Media...................... 147
Innovation in Product and Industrial Design..................................... 155
Quarter IV ORIGINAL PERFORMANCE

WITH THE USE OF MEDIA ................................................... 162
Philippine Theater and Performing Groups ..................................... 163

Culminating Activity: Staging an Original Performance.................. 168
Music Glossary ........................................................................................................ 172

Music Pronunciation Guide ..................................................................................... 175
Arts Glossary .......................................................................................................... 176

Arts Pronunciation Guide ........................................................................................ 179
Music Bibliography ................................................................................................. 180

Arts Bibliography..................................................................................................... 181
iv
MUSIC
Grade 10
Teacher’s Guide
vi
Quarter I: Music of the 20th Century
Quarter I
MUSIC OF THE 20TH CENTURY
CONTENT STANDARDS
The learner demonstrates understanding of...

1. The 20th century music styles and characteristic features.
PERFORMANCE STANDARDS
The learner...
1. Creates musical pieces using a particular style of the 20th century.
LEARNING COMPETENCIES
The learner...
1. Listens perceptively to selected 20th century music.
2. Describes distinctive musical elements of given pieces in 20th
century styles.
3. Relates 20th century music to its historical and cultural
background.
4. Explains the performance practice (setting, composition, role of
composers/performers, and audience) of 20th century music.
5. Sings melodic fragments of given Impressionism period pieces.
6. Explores other arts and media that portray 20th century elements
through video films or live performances.
7. Creates short electronic and chance music pieces using knowledge
of 20th century styles.
From the Department of Education curriculum for MUSIC Grade 10 (2014)
MUSIC Teacher’s Guide
QUARTER I
Sessions 1, 2, 3, 4, and 5
IMPRESSIONISM TO MODERN NATIONALISM
I. SUBJECT MATTER
A. Topic: 20th Century Musical Styles:

Impressionism to Modern Nationalism
Sub-topics: Impressionism
Expressionism
Neo-Classicism
Avant-Garde
Modern Nationalism
Composers (Debussy, Ravel, Schoenberg, Bartok, Stravinsky,

Prokofieff, Poulenc, Stockhausen, Glass, Cage, Bernstein,
Varese, and Gershwin)
B. Materials: DVD/CD recordings, video clips, or recordings from YouTube/

internet of Impressionistic, Expressionistic, Neo-Classicist,
Avant Garde, and Modern Nationalistic music
CD/VCD/DVD/Karaoke players, computers, laptops,

netbooks, tablets, i pads, mobile phones, MP3/MP4 players
Visual arts pictures of Impressionistic, Expressionistic,

and Modern Nationalistic paintings
Charts of music scores
C. Reference: Music Grade 10 LM - Pages 3-24
II. LESSON PROPER
A. PRELIMINARY ACTIVITY
1. Review: Concepts on previous lessons on Romantic Music.
2. Motivation
a. Display pictures or posters of the paintings of impressionist painter

Claude Monet, expressionist Jose Joya, and post-impressionist Van
Gogh on the wall or board of the classroom. Let the students go
around to view the pictures.
b. Display and discuss pictures on action painting by Jackson Pollock.
c. On a piece of pad paper, have the students describe each of the
pictures in their own words (5 minutes). Collect their works.
d. Call some volunteer students to read their descriptions or
observations. Connect these to the new lesson.
B. DEVELOPMENTAL ACTIVITY
1. Have the students listen to CD recordings or watch video clips from

YouTube on Impressionist, Expressionist, Neo-Classicist, Avant-Garde,
and Modern Nationalist music, while looking at the pictures of the
paintings.
2. Ask them to analyze the characteristics and styles of each through

discussion and sharing of insights.
3. Let them compare the paintings with their counterpart in music, in terms
of the elements and characteristics of each.
4. Ask them to share their impressions, experiences, thoughts, and feelings

after listening to the music and discussing all these.
C. INTEGRATION
1. Integration of Music with Arts, Literature, and History through the use
of paintings and music recordings.
2. Role playing - Call on volunteer students to depict the socio-historical

context of one of the musical movements studied, Modern Nationalism,
which incorporated folk songs and indigenous music.
Infusion of values: Belief in the power of the mind and its ability to achieve
one’s goals and control situations.
D. GENERALIZATION
The 20th century styles of impressionism and expressionism provided

composers with the opportunity to express their thoughts based on outside
impressions as well as ideas and expressions based on their inner convictions.
Other forms that emanated included neo-classicism, which is a return to the

classical form and structure using modern harmonies and techniques of
composition; avant garde, which deals with the parameters of sound in
space; and Modern Nationalism, which is a combination of nationalist
thematic materials with the modern techniques of composition.
III. WHAT TO KNOW
Let the students answer the following:
1. What group of people inspired many of Bartok’s compositions?
2. Which Russian composer created the music for the ballet The Firebird?
3. Who is considered the foremost impressionist?
4. What kind of musical style is attributed to Schoenberg and Stravinsky?
5. Who was the target audience of Prokofieff’s Peter and the Wolf?
6. Give an example of a musical work of each of the composers below.

Write the title in the blanks.
Composer Musical Work

Debussy _____________________________________
Ravel _____________________________________
Schoenberg _____________________________________
Stravinsky _____________________________________
Bartok _____________________________________
Prokofieff _____________________________________
Poulenc _____________________________________
Gershwin _____________________________________
Glass _____________________________________
Bernstein _____________________________________
IV. WHAT TO PROCESS
Listening Activity: Works of 20th Century Composers
1. You will play excerpts of any (one) of the following musical examples:
Debussy – Claire de Lune, La Mer, Children’s Corner Suite

Ravel – Miroirs, Sonatine, Daphnis et Chloe, Jeux d’Eau, Bolero
Schoenberg – Verklarte Nacht, Violin Concerto, Piano Concerto,
Gurrelieder
Bartok – String Quartet no. 4, Allegro, Mikrokosmos, Barbaro,
Music for Strings
Stravinsky – The Rite of Spring, Petrouchka, The Firebird Suite
Prokofieff – Romeo and Juliet (ballet), Piano Sonatas
Gershwin – An American in Paris, Porgy and Bess, Rhapsody in
Blue, Someone to Watch Over Me
Bernstein – Tonight from West Side Story, Clarinet Sonata
Glass – Einstein on the Beach, Satyagraha, Akhnaten
Poulenc – Concerto for Two Pianos, Dialogues des Carmelites
2. Let the students listen carefully to each excerpt and be able to recognize the
distinct musical style of each composer.
3. Let them choose a composition that they like. Let them write a short reaction
paper on it.2. Listen carefully to each excerpt and be able to recognize the
distinct musical style of each composer.
4. Based on this activity, let the students write a brief profile of the composer
of the pieces played in a bond paper to be submitted the following meeting.
V. WHAT TO UNDERSTAND
A. Name the Composer, Title of the Music, Musical Style, and Description
1. After the Listening Activity, you will prepare selected excerpts of

compositions by Debussy, Ravel, Schoenberg, Bartok, Stravinsky,
Prokofieff, Poulenc, Glass, Bernstein, and Gershwin.
2. Divided into four teams, with each team forming a line.
3. As you play a few measures of the first excerpt, let 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. Assign one student to tally the scores and announce the winners. The
team with the highest score is the winner. In case of a tie, the first team
to finish is the winner.
7. After proclaiming the winners, the scorer will ask this question: What
was the most significant thing that you have learned from this activity?
VI. WHAT TO PERFORM
A. Performance Activity 1:
Video Clips / Watching Live /TV Performances
Video Clips
1. Divide the class into four groups by having them count off from 1 to 4.
2. Have the students create and explore other arts (multi-media) that portray
20th century musical styles (impressionism, expressionism, jazz, avant
garde) through a 10-minute video clip or MTV using their digital cameras
or mobile phones.
3. Let them show and discuss their video works in class.
Watching Live / TV Performances
1. Divide the class into groups. Assign groups who will re-enact what
they watched. Assign other groups to do the video recording.
2. Have the students watch live performances of musical concerts, if

available in their area, or let them watch live concerts recorded on TV
or the internet (YouTube).
3. Let them re-enact in class what they have watched.
4. Let the groups assign members to make a 10-minute audio video

presentation, while the other members re-enact what they have seen on
live concerts and on TV and internet.
5. Have the groups show and discuss their video works in class.
B. Performance Activity 2:
Singing or Humming Musical Fragments
1. Play several musical excerpts of selected 20th century composers. and

briefly discuss the title, composer, and musical style of each.
2. Let the class listen carefully to each excerpt and be able to recognize
the distinct musical style of each composer.
3. Have the students sing or hum some melodic fragments (portion only)
of any of the following excerpts of 20th century music, together with
the recordings:
a. Claude Debussy’s Claire de Lune
b. Leonard Bernstein’s West Side Story
c. George Gershwin’s Rhapsody in Blue
d. Ravel’s Bolero
e. Any work of minimalist composers, Philip Glass or Meredith Monk
f. Any work of nationalist composers, Erik Satie or Bela Bartok.
4. Based on the melodic fragments of the excerpts that they sang or

hummed, they should be able to aurally identify the different selected
works of the composers of the 20th century by naming the title and
composer in a random short quiz (5 points).
5. Have the students choose a composition that they like. Ask them to
write a brief profile about the composer, and to also give their personal
reactions about the music on a one whole sheet of bond paper.
6. Let them submit it in class the next meeting.
Evaluation Activity: “Drawing Lots”
1. After the above singing or humming activity, prepare a box containing

slips of paper with the names of Debussy, Ravel, Gershwin, Bernstein,
Glass, Monk, Satie, and Bartok written on them.
2. Divide the class into four groups. Each group will choose four
representatives who will be assigned as contestants.
3. Each contestant will draw a composer’s name from the box and must
say three sentences about his compositional technique or musical style,
his major contribution to modern music, and one work that shows his
compositional style.
4. The rest of the groups will evaluate each contestant’s answer by flashing
a card or paper marked “CORRECT” or “WRONG.” Each correct
answer earns a point.
5. The group with the highest number of points wins the contest.
C. Performance Activity 3: Film Showing or Video Watching
1. Have the students research on the 20th century musical play West Side
Story written by Leonard Bernstein.
2. Instruct them to watch any video clip of West Side Story on the internet
or YouTube.
3. Let them write a reaction paper explaining the following elements of

the performance:
a. Setting
b. Musical compositions
c. Role of composer and lyricist
d. Role of performers (actors, actresses)
e. Role of the audience (students)
f. Sound and musical direction
g. Script / screenplay
h. Props, costumes, lighting
4. Divide the class into groups. Ask them these questions: Did you like
what you watched? Why or why not?
5. Have them explain their answers on a one whole sheet of bond paper.
Let each group report their answers in class.
D. Performance Activity 4:
Singing Songs from West Side Story
1. The students may opt to do this as an individual or group activity. Groups

will be divided into four.
2. Let the students listen to the songs Tonight, Maria, Somewhere, and
America from video or recordings of West Side Story. Ask them to draw
lots for the song to sing.
3. Have them sing and perform their song in class, with or without
accompaniment. They may also sing with the recordings.
4. Let those students who are not performing act as judges for the
performance evaluation.
5. Judges will have five placards, score cards, or paper sheets marked:
BEST, BETTER, GOOD, FAIR, NEEDS FOLLOW UP.
6. Judges will display a score card after evaluating the performance.
7. One student may be assigned to tabulate the scores after the performance.
8. Select and announce the “Best Performance” award.
E. Performance Activity 5:
Live Concert or Recording or Music Video
Let the students choose the activity that they are interested in.
1. Class Concert – Live Performance

a. Group the students into four. The first two groups will do the class
concert.
b. Have the group leader assign each member to do any of the following:
singing, dancing, choreography, musical directing, playing an
instrument (either as accompaniment to the song or dance, or a solo
performance or as a band). They may use props and costumes, if
needed.
c. Let the groups perform in class their own original interpretation of
the songs from West Side Story.
2. Recording or Music Video: Individual or Group Activity

a. Have the remaining two groups choose their members.
b. Let them record the performance of their classmates using a cassette
recorder, or make a music video using a cellular phone, digital
camera, or video camera.
c. Have them play the recorded performance or show the music video
to their classmates. The groups in the video or recording will choose
the “Best Performers.”
d. You will also rate the students’ performance based on the criteria
below.
e. Choose the “Best Video Presentation” based on creativity (50%)
and presentation (50%).
Evaluation of Performing Activities
Rating scale: 5 = Very Good 2 = Poor

4 = Good 1 = Needs Follow-up
3 = Fair
Rate scores are based on your performance quality.
1. How well did I perform the songs from West

Side Story? ____________
2 How well can I identify the different musical genres

based on instrumentation, text, and purpose? ____________
3. How well can I describe the characteristics of each

through listening to their melody, harmony, rhythm,
text, and mass appeal? ____________
4. How well did I participate in the performance of

the different activities? ____________
Teacher’s Rating of the Students’ Performance
1. Musicianship (60%)
a. compositional concepts presented ____________
b. musical elements ____________
c. technique ____________
2. Ensemble coordination (20%) ____________
3. Ensemble organization (20%) ____________
10
VII. EVALUATION
1. What are the styles of 20th century classical music studied in this lesson?
2. Explain briefly how these styles have counterparts in the visual arts,
particularly in painting.
VIII. ENRICHMENT ACTIVITIES / ASSIGNMENT
A. Let the students answer the following:
1. Which of the styles that you studied do you like best?
2. Explain your answer in essay form.
B. Encourage the students to search for the following video on YouTube and
to view it for additional inights on 20th century music:
Young People’s Concert: What is Impressionism

by Leonard Bernstein
They may also search for Bernstein’s other video lectures on music.
11
QUARTER I
Sessions 6, 7, and 8
20TH CENTURY MUSICAL STYLES:
ELECTRONIC AND CHANCE MUSIC
I. SUBJECT MATTER
A. Topic: 20th Century Musical Styles: Electronic and Chance Music
Sub-topics : Electronic Music

Chance Music
Composers (Cage, Stockhausen, Varese)
B. Materials : DVD / CD recordings /video clips/ recordings from YouTube

or the internet of Electronic and Chance Music

Pictures, slides, video clips of musical gadgets used

especially in Electronic Music
Sound makers like stones, rice, radios, horns, and

kitchen utensils
C. Reference: Music Grade 10 LM. Pages 25-30
II. LESSON PROPER
1. Review: Let the students go over the concepts they have learned about
Impressionism, Expressionism, Modern Nationalism, Neo-Classicism
and Avant-Garde Music.
2. Motivation:
a. Hold a “Chance Music Experience.” Ask one student to simulate a
performance concert sitting in front of the piano, keyboard, singing
with a microphone, just holding a guitar, or holding any other musical
instrument for 3 minutes without playing these.
12
b. Discuss the performance and get reactions and observations from

the class. What did they think? hear? see? feel? touch? smell?
c. Use the experience as a bridge to the topic of the lesson.
1. Let the students listen attentively to CD recordings of Electronic and

Chance Music.
2. Ask them to define/describe each of the two musical styles introduced
in the recordings they listened to.
3. Discuss the history, characteristics, and operations of the two kinds of
musical styles.
4. Have the students experiment with sounds on materials they had brought
to class to create Chance Music. Divide the class into four or five groups,
each with a written plan of what to accomplish.
5. Perform this experiment with a live concert of the two musical styles in
the classroom.
6. Use new electronic equipment (if available) to listen to different sounds
from the instruments (Example: synthesizer, cassette tape recorder, DVD
player, karaoke, and others that you may think of).
C. INTEGRATION
1. Integrate the use of electronic equipment, if available, and other materials

that can produce sound as well as the use of modern technology gadgets
in Music with lessons in Physics, Vocational Education, and Technology
and Livelihood Education (TLE).
2. Show a picture of an action painting by Jackson Pollock and compare it

with chance music.
Infusion of values: Appreciation of the beauty of nature and the realization

of their contribution to the environment.
D. GENERALIZATION
The modern musical tradition experimented with new sounds in classical

music through such styles as Electronic Music and Chance Music. Through
this experimentation, the novelty of sounds emanating from sources other
than the traditional musical instruments played a major role in the
compositions being created.
13
III. WHAT TO KNOW
Have the students answer thed following:
1. Who was the French composer known as the “Father of Electronic Music?
2. What are some of the new musical approaches of Cage?
3. What is meant by musique concrete used by Stockhausen?
4. Give an example of a musical work by Varese, Stockhausen, and Cage.

Write your answers on the blanks below.
Composer Musical Work
Varese ___________________________
Stockhausen ___________________________
Cage ___________________________
IV. WHAT TO PROCESS
Listening Activity: Works of 20th Century Composers
1. Play excerpts of any (one) of the following musical examples:
Cage – 4’33"; Metamorphosis, for piano; Five Songs,

for contralto soloist and piano; Music for Wind
Instruments, for wind quintet
Stockhausen – Etude, Electronic STUDIES I and II, Gesang der

Junglinge, Kontakte, Momente, Hymnen
Varese – Hyperprism for wind and percussion,

Octandre for seven wind instruments and double bass,
Intégrales for wind and percussion,
Ionisation for 13 percussion players
2. Have the students listen carefully to each excerpt and be able to recognize
the distinct musical style of each composer.
3. Let them choose a composition that they like, and then write a short reaction
paper on the composition and the profile of the composer.
14
4. Have them submit this on one whole sheet of bond paper during the next
meeting. At random, choose students to read their reactions in class.
Name the Composer, Title of the Music, Musical Style, and Description
1. After the Listening Activity, prepare selected excerpts of compositions by

Stockhausen, Cage, and Varese.
2. Divide the class into four teams, with each team forming a line.
3. As you play a few measures of the first excerpt, have 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.
5. The same procedure goes on until all the students in the line have had their
turn.
6. Assign one student to be 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 ask them this question:
What was the most significant thing that you have learned from this activity?
VI. WHAT TO PERFORM
A. Activity 1:
Experimentation with the Sounds of 20th Century Music Systems
Let the students do the following activity:
1. Chance Music – Put small items inside a bag. Include coins, pens, pins,
small bells, and other articles with percussive sounds. Pour the bag’s
contents on a hard surface. Then, using a cellphone or other available
device, record the sounds that are produced.
15
Put the items back in the bag. Then unload the same, while once again
recording the sounds being produced. Note the changes between the
two sets of sounds recorded.
2. Electronic Music – Create short electronic music pieces using your

knowledge of 20th century musical styles.
B. Performance Activity 2:
Original Chance and Electronic Music
Have the students do the following:
Rate scores are based on the elements of music such as rhythm, melodic
appeal, harmony and texture, tempo and dynamics, timbre, and overall
musical structure
BEST, BETTER, GOOD, FAIR, NEEDS FOLLOW UP.

.
1. The class will be divided into four groups.
2. Each group will create an original five-minute performance of Chance

Music and Electronic Music (if available) to be performed in class.
3. Those who are not performing will act as judges for the performance
evaluation.
4. Judges will have five placards, score cards, or paper sheets marked:
BEST, BETTER, GOOD, FAIR, NEEDS FOLLOW UP. They will
display these score card after evaluating each performance.
5. One student may be assigned to tabulate the scores after the performance.
6. Announce the “Best Performance” award.
7. Have the students answer this question: What was the role of the
audience in the performance of Chance Music? Explain your answers.
C. Performance Activity 3: Group Activity
Video Clips
1. Divide the class into four groups by counting off from 1 to 4.
16
2. Let each group create and explore other arts (multimedia) that portray
20th century musical styles (Chance and Electronic Music) through a
10-minute video or MTV using their digital cameras or mobile phones.
3. They may use the internet as reference for their video clips.
4. Let them show and discuss their video works in class.
Watching Live / TV Performances
1. Ask the students to watch live performances of musical concerts on

Chance and Electronic Music, if available in their area; or to watch live
concerts recorded on TV or the internet.
2. Let the group leaders choose two or three of their members as

videographers for each group. Have them record and make a 10-minute
audio video presentation, while the other group members re-enact what
they have seen on live concerts and on TV.
3. Have them show and discuss their video works in class.
4. Choose the “Best Video Award” using the criteria: Creativity (50%)
and Presentation (50%).
Evaluation Activity: “Drawing Lots”
1. After the different performing activities, prepare a box containing slips of

paper with the names of Cage, Stockhausen, and Varese.
2. Divide the class into four groups. Let each group choose four representatives
who will be assigned as contestants.
3. Let each contestant draw out a composer’s name from the box and say
three sentences about his compositional technique or musical style, his major
contribution to modern music, and one work that shows his compositional
style.
4. Let the rest of the groups evaluate each contestant’s answer by flashing a
card or paper marked “CORRECT” or “WRONG.” Each correct answer
earns a point.
5. The group with the highest number of points wins the contest.
17
Have the students rate themselves based on their performance quality.

3 = Fair
1. How well did I perform chance and electronic music? ____________

based on instrumentation, text, and purpose? ___________

through listening to their melody, harmony, rhythm,
text, and mass appeal? ____________
4. How well did I participate in the performance of

the different activities? ____________
Teacher’s Rating of the Students’ Performance
1. Musicianship (60%)
a. compositional concepts presented ____________
b. musical elements ____________
c. technique ____________
2. Ensemble coordination (20%) ____________
3. Ensemble organization (20%) ____________
VIII. ENRICHMENT ACTIVITY / ASSIGNMENT
Have the students view this video which is available on the BBC and YouTube
websites:
BBC’s The Story of Music: Age of Rebellion and The Popular Age
by Howard Goodall
18
Quarter II: Afro-Latin American and Popular Music
Quarter II
AFRO-LATIN AMERICAN
AND POPULAR MUSIC
CONTENT STANDARDS

1. Characteristic features of Afro-Latin American music and Popular
music.
The learner...
1. Performs vocal and dance forms of Afro-Latin American music and
selections of Popular music.
The learner...
1. Observes dance styles, instruments, and rhythms of Afro Latin
American and popular music through video, movies and live
performances.
2. Describes the historical and cultural background of Afro-Latin
American and popular music.
3. Listens perceptively to Afro-Latin American and popular music.
4. Dances to different selected styles of Afro-Latin American and popular
music.
5. Analyzes musical characteristics of Afro-Latin American and popular
music.
6. Sings selections of Afro-Latin American and popular music in
appropriate pitch, rhythm, style, and expression.
7. Explores ways of creating sounds on a variety of sources suitable to
chosen vocal and instrumental selections.
8. Improvises simple vocal/instrumental accompaniments to selected
songs.
9. Choreographs a chosen dance music.
10. Evaluates music and music performances using knowledge of musical
elements and style.
19
QUARTER II
AFRO-LATIN AMERICAN AND POPULAR MUSIC
Sessions 1, 2, 3, 4, and 5
AFRICAN MUSIC AND LATIN AMERICAN MUSIC
I. SUBJECT MATTER
A. Topic: African Music and Latin American Music
Sub-topics: African Music

1. Historical and cultural background
2. Musical instruments
3. Rhythms: Maracatu
4. Vocal forms: Blues, soul, spiritual, call and response
Latin American Music

1. Historical and cultural background
2. Musical instruments
3. Vocal and dance forms: Cumbia, tango, cha-cha,
rumba, bossanova, reggae, foxtrot, paso doble
B. Materials: DVD/CD recordings, video clips, and internet recordings

of African and Latin American Music

Photographs of Africa and Latin American culture and art,

and African and Latin American musical instruments
C. Reference: Music Grade 10 LM pages 38 - 64
II. LESSON PROPER
1. Review: Concepts of Music of the 20th Century
2. Motivation
a. Show video/film clips or any recording from YouTube of excerpts
of African and Latin American Music.
20
Example: Lion King for African Music; Rio for Latin American Music
b. Play selected recordings of African and Latin American music.
Examples: folk songs, instrumental music.
c. Let the students listen to the music or watch the vido clips. On a
piece of pad paper, let them describe the music that they listened to
or watched in their own words. (5 minutes).
d. Call some volunteer students to read their descriptions or
observations. Connect these to the new lesson.
1. Ask the students to listen to CD/DVD recordings or watch MTVs from

YouTube of African and Latin American music.
2. Have them analyze the characteristics and styles of each through

discussion and sharing of insights.
3. Group Discussion: Let the students compare their insights with their
classmates in terms of the elements and characteristics of each.
4. Have them share impressions, experiences, thoughts, and feelings after

listening to the music and discussing all these.
C. INTEGRATION
Integration of Music with Arts, Literature, and History through the use of
music recordings and video clips.
Infusion of values: Belief in the power of the mind and its ability to achieve
one’s goals and creativity.
D. GENERALIZATION
Music has always been an important part in the daily life of the African,
whether for work, religion, ceremonies, or even communication. Singing,
dancing, hand clapping and the beating of drums are essential to many African
ceremonies, including those for birth, death, initiation, marriage, and funerals.
Music and dance are also important to religious expression and political
events in Africa.
21
The music of Latin America is the product of three major influences –

Indigenous, Spanish-Portuguese, and African. Sometimes called Latin music,
it includes the countries that have had a colonial history from Spain and
Portugal.
III. WHAT TO KNOW
1. What are the classifications of African music?
2. What are the characteristics of each classification of African music?
3. Name some African musical instruments under the following categories:

a. idiophones
b. chordophones
c. membranophones
d. aerophones
4. Describe how African musical instruments are sourced from the environment.
Give examples.
5. What are the different vocal and dance forms of Latin American music?
6. What are the characteristics of each vocal and dance form of Latin American
music?
7. Which type of music was popularized by Bob Marley?
8. Which type of music was popularized by Antonio Carlos Jobim?
9. Who is known as the “Philippines’ Queen of Bossa Nova”?
IV. WHAT TO PROCESS
Class Activity
1. Play one recording of African and Latin American music.
2. Have the students participate in a class discussion on the distinctive features

and qualities of each musical genre and style.
22
Activity 1: Making Improvised African and Latin American Instruments

Individual or Group Activity
1. Ask the students to make improvised African and Latin American musical
instruments using dried vegetables, animal hide, wood, strips of roofing
metal, tin cans, bamboo, and other materials from the environment.
2. Have them create a rhythmic or harmonic accompaniment for any African

and Latin American songs that they know using these improvised African
and Latin American instruments. Let them use the internet for reference.
3. Have them answer: “How did you relate in making improvised African and
Latin American musical instruments found in the environment?”
Activity 2: Choreography to Express the Music

1. Have the students conceptualize a choreography to show some dance steps

set to African and Latin American music.
2. Let them answer: “How does it feel to conceptualize the dance movements
in each music category?”
VI. WHAT TO PERFORM
Group Activities
1. Class Singing Concert – live performance
a. Divide the class into four groups. Ask each group to draw lots to sing a
song from one of the following musical genres:
For African Music - Kumbaya, Waka Waka, or Mbube

For Latin-American music - One Note Samba; We are One (Ole Ola)
the official song of the 2014 FIFA World Cup held in Brazil, written and
co-produced by Pitbull and featuring Jennifer Lopez and Brazilian star
Claudia Leitte. Let them research the lyrics and music.
b. Let the students decide among their group members which of them will
sing, plan the choreography or movements to accompany the song, play
23
a musical instrument, and record the group’s performance on video.
c. Ask the students learn their assigned song, using the lyrics on the
following pages.
d. Have them practice it, with the choreography and accompaniment. Then,
let them perform in class.
2. Dance Interaction
a. As they performs in class, have the performers invite the other class
members to join them in the dance movements or choreography that
they have prepared. They can do a “flash mob” style of dancing.
b. Have the group leaders do an impromptu selection of the “Best Dance

Performance” among their classmates.
3. Music Video Award
a. During the class performance, let the assigned group member(s) to record
their group’s performance using a mobile phone, tablet, or video camera.
b. Have them simulate a “Music Video Award” event by joining the other
groups in presenting their respective videos in class.
c. Ask the class members choose the “Best Song Performance” based on
how well the group presented their assigned music genre.
KUM BAY YA
Kum Bay Ya is a spiritual song that was first recorded in the

1920s. It became a popular standard campfire song in Girl or Boy
Scouting and during summer camps. The song is originally a simple
petition to God to come and help those in need. This inspiring hymn
is heard in many countries of Central Africa. It has great personal
meaning and the singer often creates his own words as he works or
pray. The words “Kum Bay Ya” mean “come by here” or “stay
nearby.”
24
KUMBAYA
Kum bay ya, my Lord, kum bay ya;

Kum bay ya, my Lord, kum bay ya;
Kum bay ya, my Lord, kum bay ya
O Lord, kum bay ya.
Someone’s laughing, my Lord, kum bay ya

O Lord, kum bay ya.
Someone’s crying, my Lord, kum bay ya

O Lord, kum bay ya.
Someone’s praying, Lord, kum bay ya

O Lord, kum bay ya.
Someone’s singing, my Lord, kum bay ya

O Lord, kum bay ya.
WAKA WAKA (This Time for Africa)

FIFA World Cup 2010 Official Anthem
"Waka Waka (This Time for Africa)" or in Spanish, "Waka

Waka (Esto es África)" is a song by Colombian singer-songwriter
Shakira. It feautures South African band, Freshlyground, and
pairs an African Colombian rhythm with a Soca-inspired beat.
Its lyrics encourage one to aim for one’s goals, like a soldier on
a battlefield. The song was used as the official song of the 2010
FIFA World Cup held in South Africa.
25
WAKA WAKA
You're a good soldier You know it's serious

Choosing your battles We're getting closer
Pick yourself up This isn’t over
And dust yourself off The pressure is on
And back in the saddle You feel it
You're on the frontline But you've got it all
Everyone's watching Believe it
ONE NOTE SAMBA
Samba de Uma Nota Só ("One-Note Samba") is a song com-

posed by Antonio Carlos Jobim, with Portuguese lyrics by New-
ton Mendonça and English lyrics by Jobim. The song title refers
to the main melody line, which at first consists of a long series of
notes of a single tone.
This is just a little samba

Built upon a single note
Other notes are bound to follow
But the root is still that note
Now this new note is the consequence

Of the one we've just been through
As I'm bound to be
The unavoidable consequence of you
There's so many people

Who can talk and talk, and talk
And just say nothing
Or nearly nothing
I have used up all the scale

I know and at the end
I've come to nothing
I mean nothing
26
So I come back to my first note

As I come back to you
I will pour into that one note
All the love I feel for you
Any one who wants the whole show

Re mi fa so la ci do
He will find himself with no show
Better play the note you know
So I come back to my first note

I must come back to you
I will pour into that one note
All the love I feel for you
Any one who wants the whole show

Re mi fa so la ci do
He will find himself with no show
Better play the note you know
Rating scale:
5 = Very Good 2 = Poor
3 = Fair
Ask the students to answer the following:
Rate scores are based on the groups’ performance quality.
1. How well did our group perform our assigned music?

a. African music _______________
b. Latin American music _______________

based on instrumentation, melody, rhythm, text,
timbre, harmony, and purpose? _______________
27
3. How well can I describe the characteristics of

each genre as I listened to the melody,
harmony, rhythm, and lyrics? _______________
4. How well did our group perform the different

dance moves for our assigned song? _______________
5. How well can I (individually) sing the following

musical genres?
a. African music _______________
b. Latin American music _______________
Teacher’s Rating of the Performance
1. Musicianship (60%) _______________

(musical elements, technique)
2. Presentation impact and showmanship (20%) _______________
3. Ensemble coordination and organization (20%) _______________
VII. EVALUATION
Have the students choose a new favorite musical genre. On a one fourth (1/4)
sheet of pad paper, have them describe the character and classification of African
and Latin American music and tell which is their favorite, and why.
VIII. ENRICHMENT / ASSIGNMENT
1. Mini Concert: Divide the class into two groups. Assign African music to
one group, and Latin American music to the other group. Have them prepare
for a mini concert of their assigned genre in the next meeting.
2. Research Work: Ask them to research or read on jazz, popular music, and
OPM and write their personal impression about each genre. Let them submit
it next meeting.
3. Video Analysis: Ask the students to watch the animated movies Lion King
by Disney and Rio by Blue Sky Studios on the internet. Have them write a
reaction paper regarding the musical forms and styles incorporated in these
movies.
28
QUARTER II
AFRO-LATIN AMERICAN AND POPULAR MUSIC
JAZZ, POPULAR MUSIC, AND
ORIGINAL PILIPINO MUSIC
I. SUBJECT MATTER
A. Topic: Jazz
Popular Music
Original Pilipino Music (OPM)
Sub-topics: Jazz – ragtime, big band, bebop, jazz rock

Popular Music – ballad, standard, rock and roll,
alternative music, disco
Original Pilipino Music (OPM)
B. Materials: DVD/CD recordings / video clips / recordings from YouTube

of Jazz Music, Popular Music, and OPM

Pictures of Jazz, Popular Music, and OPM singers,

composers, lyricists
C. Reference: Music Grade 10 LM pages 65 - 87
II. LESSON PROPER
1. Review:
a. Define and describe Afrian and Latin American music.
b. Give examples of musical instruments of Africa and Latin America.
2. Motivation:
a. Show video/film clips/MTVs or any recording from YouTube of
Frank Sinatra, Nat King Cole, The Beatles, Michael Jackson, One
Direction, The Vamps, Ed Sheeran, Taylor Swift, K pop, J pop,
Freddie Aguilar, Francis Magalona, and Eraserheads.
29
Or present in class video clips from the animated movie The Princess
and The Frog and let the students listen to the background music
which is jazz.
b. Elicit responses through individual recitations or plain imitation of

a short song melody.
1. Let the students listen to DVD/CD recordings or watch MTVs from

YouTube of pop, rock, jazz, folk, country and western, rock and roll,
hiphop, rap, and classical music.
2. Have them analyze/discuss the characteristics of each genre through

comparison of their similarities and differenes.
3. Discuss the different aspects of the history of each musical genre in

relation to Social Studies, and describe how each one is influenced by
modern culture, society, and technology.
4. Let the students identify aurally the different genres of today’s music.
5. Call on volunteers to perform two or three of these genres in class.
C. INTEGRATION
1. The lesson on Musical Genres of the 20th Century, dealing with folk and
alternative music, as well as the modern idioms of jazz, popular music,
and rock, may be integrated with Social Studies in reference to today’s
society, culture, and technology.
2. Role Playing - Call on volunteer students to depict the socio-historical

context of jazz and popular music, specifically rock and roll.
Infusion of values: Ability to adapt to different situations in life and open-

mindedness to new ideas.
D. GENERALIZATION
The emergence of 20th century musical genres is a reflection of modern

life, balancing the traditional norms of society with the advances in science
30
and technology. Other than the genres that evolved from the traditionally
classical styles, the new musical forms that developed included Country
and Western, Jazz, Rock and Roll, Rock, and Alternative Music.
III. WHAT TO KNOW
Ask the students to answer the following:
1. How did the different forms of popular music reflect life in the 20th century?
2. Differentiate the characteristics of Philippine pop, rock, and rap music.
3. What role did media like radio, television, and recordings play in the
development of these different musical genres?
4. Describe the “Manila Sound” in Philippine pop music.
5. Name some well-known OPM performers.
IV. WHAT TO PROCESS
Class Activity: Listening
1. Play one recording of each of the following: Jazz, Popular Music (standards,
rock and roll, disco), and OPM (ballad, Pinoy rock, Pinoy rap). Instruct the
class to listen carefully to each recording.
2. Have the students participate in a class discussion on the distinctive features

and qualities of each musical genre and style.
Activity: Choreography to Express the Music

1. Ask the students to conceptualize a choreography to show some dance

steps set to Jazz, Popular (Pop) Music, and OPM.
2. After this activity, ask the students: “How does it feel to conceptualize the
dance movements in each music category?”
31
VI. WHAT TO PERFORM
Group Activities
1. Class Singing Concert – live performance
a. Divide the class into four groups.
b. Each group will be asked to draw lots to sing a song from one of the
following musical genres:
For Jazz - choose from Someone to Watch Over Me by Ella Fritzgerald

(lyrics provided on the next page)
or All That Jazz from the movie Chicago
For Pop and OPM - choose your own song
c. Have the students decide among their group members who will do the
following:
- sing
- plan the choreography or movements to accompany the song
- play a musical instrument
- record the group’s performance on video.
d. They will then learn their assigned song, using the lyrics provided or
researched on the internet. Let them practice it, with the choreography
and accompaniment.
2. Dance Interaction
a. As they perform in class, ask the performers to invite the other class
members to join them in the dance movements or choreography that
they have prepared. They can do a “flash mob” style of dancing.
b. Assign the group leaders to do an impromptu selection of the “Best

Dance Performance” among their classmates.
3. Music Video Award
a. During the class performance, ask the assigned group member(s) to

record their group’s performance using a mobile phone, tablet, or video
camera.
32
b. Tell them to simulate a “Music Video Award” event by joining the

other groups in presenting their respective videos in class.
c. Ask the class members to choose the “Best Song Performance” based
on how well the group presented their assigned music genre.
Someone To Watch Over Me
There's a saying old, says that love is blind

Still we're often told, "Seek and ye shall find"
So I'm going to seek a certain lad I've had in mind
Looking everywhere, haven't found him yet

He's the big affair I cannot forget
Only man I ever think of with regret
I'd like to add his initial to my monogram

Tell me, where is the shepherd for this lost lamb?
There's a somebody I'm longin' to see

I hope that he, turns out to be
Someone who'll watch over me
I'm a little lamb who's lost in the wood

I know I could, always be good
To one who'll watch over me
Although he may not be the man some

Girls think of as handsome
To my heart he carries the key
Won't you tell him please to put on some speed

Follow my lead, oh, how I need
Someone to watch over me
Won't you tell him please to put on some speed

Follow my lead, oh, how I need
33
Rating scale:
5 = Very Good 2 = Poor
3 = Fair
Rate scores are based on the groups’ performance quality.
1. How well did our group perform our assigned music?

a. Jazz _______________
b. Popular Music _______________
c. OPM _______________
2. How well can I identify the different musical genres

based on instrumentation, melody, rhythm, text,
timbre, harmony, and purpose? _______________

each genre as I listened to the melody,
harmony, rhythm, and lyrics? _______________
4. How well did our group perform the different

dance moves for our assigned song? _______________
5. How well can I (individually) sing the following

musical genres?
a. African Music _______________
b. Latin American Music _______________
Teacher’s Rating of the Performance
1. Musicianship (60%) _______________

(musical elements, technique)
2. Presentation impact and showmanship (20%) _______________
3. Ensemble coordination and organization (20%) _______________
34
VII. EVALUATION
Make the students choose a new favorite musical genre. On a one fourth (1/4)
sheet of pad paper, have them describe the character and classification of this
genre and tell why it is their favorite.
VIII. ENRICHMENT / ASSIGNMENT
A. Research Work
1. Divide the class into three groups. Assign one musical genre to each
group: jazz, popular music, and OPM.
2. Have the students research further on their assigned genre and the well-
known musicians who composed/performed in this style.
3. Ask the students to briefly describe the life and works of their favorite
artists in this genre.
4. Let them submit their resarch work in the next meeting. Ask 5 students
to read their work in class.
B. Video Analysis
1. Ask the students to watch the Disney animated movie The Princess and
The Frog on the internet.
2. Have them write a reaction paper regarding the musical forms and styles
incorporated in the movie.
35
Quarter III
CONTEMPORARY PHILIPPINE MUSIC
CONTENT STANDARDS
1. Characteristic features of contemporary music.
The learner...
1. Sings contemporary songs.
The learner...
1. Listens perceptively to excerpts of major contemporary works.

2. Describes characteristics of traditional and new music.
3. Gives a brief biography of selected contemporary Philippine
composers.
4. Sings selections of contemporary music with appropriate pitch,
rhythm, style, and expression.
5. Explores ways of creating sounds on a variety of sources.
6. Improvises simple vocal/instrumental accompaniments to selected
songs.
7. Creates a musical on the life of a selected contemporary Philippine
composer.
8. Evaluates music and music performances using knowledge of musical
elements and style.
36
Quarter III: Contemporary Philippine Music
Quarter III
Sessions 1,2, and 3

TRADITIONAL COMPOSERS
I. SUBJECT MATTER
A. Topic: 20th Century Filipino Composers:

Traditional Composers
Sub Topics: Francisco Buencamino

Francisco Santiago
Nicanor Abelardo
Antonio Molina
Hilarion Rubio
Col. Antonino Buenaventura
Rodolfo Cornejo
Felipe Padilla de Leon Sr.
Lucio San Pedro
Rosendo Santos Jr.
Alfredo Buenaventura
Ryan Cayabyab
B. Materials: Pictures/slides of composers
Charts with bullet-highlights of the composers’

lives and works
Musical scores of some of the composers’

well-known compositions
DVD/CD recordings of sample works

C. Reference: Music Grade 10 Learner’s Materials

Pages 89-109
37
II. LESSON PROPER
1. Review: Recall concepts from the past lesson.

2. Motivation: As the class listens to the recordings, display on the board
pictures of each of the composers. Choose recordings from past lessons
to serve as a bridge to the new lesson. Display the chart or list of
composers from the last lesson.
1. Let the students listen to and watch presentations of the lives, musical
achievements, and works of Francisco Buencamino Sr., Francisco
Santiago, Nicanor Abelardo, Antonio Molina, Hilarion Rubio, Col.
Antonino Buenaventura, Rodolfo Cornejo, Felipe Padilla de Leon
Sr., Lucio San Pedro, Rosendo Santos Jr., Alfredo Buenaventura,
and Ryan Cayabyab.
2. Have them watch the following video clips on YouTube:

a. Larawan and Mayon Fantasy by Francisco Buencamino performed
by Cecille Licad, international concert pianist
b. Nocturne by Nicanor Abelardo performed by Raul Sunico,
international concert pianist
c. Serenata by Nicanor Abelardo performed by Renato Lucas, cello
and Raul Sunico, pianist
d. Anak Dalita by Francisco Santiago
e. Sa Ugoy ng Duyan by Lucio San Pedro performed by Lea Salonga
f. Kumukutikutitap and Kay Ganda ng ating Musika by Ryan Cayabyab
3. Let them express their a) personal reactions or feelings; and b) analysis

of the musical elements present about these composers’ works through
group discussion. Report the outcome of the group discussion in class.
C. INTEGRATION
The lesson on 20th Century Filipino Composers may be integrated with

Philippine History for a better understanding of the musical styles and their
sources of influence.
38
Infusion of values: Appreciation of our nationalist composers as major

exponents of our cultural heritage.
D. GENERALIZATION
Filipino composers of the 20th century contributed their share in introducing

innovative sounds different from the traditional folk song and kundiman
melodies that we have been accustomed to. Some espoused the
impressionistic style, while others combined ethnic sounds and musical
elements with Western techniques in their compositions.
III. 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.
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.
Composer Characteristics of the Musical Style

________________ _______________________________________
________________ _______________________________________
________________ _______________________________________
________________ _______________________________________
________________ _______________________________________
________________ _______________________________________
________________ _______________________________________
________________ _______________________________________
________________ _______________________________________
________________ _______________________________________
39
IV. WHAT TO PROCESS
A. Listening Activity
1. Play excerpts of recordings of any one composition by the following

Filipino song composers:
Antonio Molina - Hatinggabi, Misa Antoniana, Grand Festival

Mass, Ang Batingaw, Kundiman- Kundangan;
String Quartet, Kung sa Iyong Gunita,
Pandangguhan, Amihan, Awit ni Maria Clara,
Larawan Nitong Pilipina
Lucio San Pedro - Sa Ugoy ng Duyan, Suite Pastorale, Lahing
Kayumanggi
Ryan Cayabyab - Misa, Four Poems for Soprano and Piano, Te
Deum, Kay Ganda ng Ating Musika, Limang
Dipang Tao, Da Coconut Nut, Alikabok,
Spoliarium, Kumukuti-kutitap
Col. Antonino
Buenaventura - Minuet, Mindanao Sketches, Divertimento for
Piano and Orchestra, Variations and Fugue,
and Greetings, Pandanggo sa Ilaw, Princesa
ng Kumintang, Pandanggo ni Neneng
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)
Rodolfo Cornejo - 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, Song of the Miners
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
40
Rosendo Santos Jr. - Melinda’s Masquerade

Nicanor Abelardo - Nasaan Ka Irog?, Bituing Marikit, Mutya ng
Pasig, Paskong Anong Saya, Cavatina,
Kundiman ng Luha, Magbalik Ka Hirang
Francisco Santiago - Kundiman (Anak Dalita), Himutok, Pakiusap,
Madaling Araw, Sakali Man, Pilipinas Kong
Mahal, Ano Kaya ang Kapalaran?
Felipe de Leon Sr. - Bulaklak Alitaptap, Bagong Lipunan,
Payapang Daigdig, Pasko na Naman, Noche
Buena, Kay Tamis ng Buhay, Sapagkat Mahal
Kita
Francisco Buencamino - Harana, Pandanggo ni Neneng, Collar de
Sampaguita, Dulces las Horas, Mayon
(Fantasia de Concierto), My Soul’s Lament,
Larawan, Mazurka, Boholana, Mi Bandera,
Princesa ng Kumintang, Maligayang Bati,
Ang Bukang Liwayway, Ang Bagong Balitaw,
Himig ng Nayon, Damdamin (Romance),
Pizzicato Caprice
2. Let the students listen carefully to each excerpt and recognize the
different musical styles of the composers.
3. Have them analyze the music by taking note of the elements of music
present: rhythm, melody, tempo, dynamics, texture, harmony, form, and
timbre.
4. Let them choose a composition that they like, and then write a short
reaction paper on it in relation to the musical elements.
B. Evaluation of Listening Activity

1. After the above Listening Activity, prepare selected excerpts of

compositions by Lucio San Pedro, Col. 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 Cayabyab.
41
3. As you play a few measures of the first musical 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.
their turn.
6. Assign one student 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.
What was the most significant thing that you have learned from this
activity?
Activity for Solo, Duet, Trio, Quartet, Quintet
1. Have the students compose a simple song, for which they will create both
the lyrics and the music.
2. They may adapt a certain melody from the compositions of the song
composers that they like, and then write new lyrics to fit the music.
3. They may also include an accompaniment using a guitar, flute, recorder,
keyboard, drums, tambourine, maracas, or even improvised musical
instruments from the environment.
4. Have the students sing their original songs or adaptations in class, either a
capella (without accompaniment) or with accompaniment.
5. Ask them this question: What motivated you to compose or adapt the music
of that particular song?
VI. WHAT TO PERFORM
A. Singing Activity
Individual or in groups: Let the students 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.
42
If individual activity, let the students choose one composition that they will
perform. If group activity, let them do the following procedure:
1. Divide the class into four groups.
2. Let the students choose any traditional composer, and research further
on his compositions, if needed.
3. After researching, have them select one composition that they like best
or they are familiar with. Or they may opt to learn a new song.
4. Let them choose their group’s musical director.
5. To learn and practice their chosen song, the students may bring to class
“minus one” music on a CD, mobile phone, or USB.
6. They may add instrumental accompaniment using a guitar, flute, recorder,

maracas, tambourine, keyboard, or a combination of any of these.
7. They may also improvise simple vocal or instrumental accompaniment,

by exploring ways of creating sounds from a variety of sources or from
the environment.
8. Let them sing the song in class with their groupmates interpreting the
music with appropriate pitch, rhythm, style, timbre, dynamics, melody,
texture, harmony, and expression.
9. After all the performances, choose the “Best Singing Group” based on:
- musicianship (musical elements) 60%
- presentation impact and showmanship 20%
- ensemble coordination and organization 20%
10. Have all the students evaluate by rating each other’s performance and
their own performance.
Evaluation of Singing Activity
Have the students rate the individuals/groups based on performance quality:
Rating Scale: 5 - Very Good 2 - Poor

4 - Good 1 - Needs Follow up
3 - Fair
43
Rating the other performers (if individual activity):
1. How well did the performers express the message

of the songs? __________
2. How well did the performers pronounce
the lyrics of the songs? __________
3. How well did the performers sing based on
musical elements and style:
a. pitch __________
b. rhythm __________
c. style __________
d. expression __________
e. dynamics __________
f. melody __________
g. timbre __________
h. texture __________
i. harmony __________
Rating the group members (if group activity):
1. How well did the group members express the

message of the songs? __________
2. How well did the group members sing? __________
3. How well did the group members participate? __________
B. Creating and Performing Activities: Musical
1. Divide the class into four groups. Each group will choose a traditional
composer who was discussed in class, and research further on his life
and works.
2. Have the students create a contemporary musical on the life of their

chosen composer. Encourage them to incorporate some of his
compositions (melodic fragments) in the musical’s story line.
3. For the creation of the musical, have the students improvise simple
vocal or instrumental accompaniments (example: guitar, keyboard,
percussion) for the songs that they have chosen.
4. Let them also explore ways of creating sounds as accompaniment on a

variety of sources or from the environment.
5. Each group will then perform their original musical in class.
44
6. Choose the “Best Group Musical Performance” based on:

- audience impact and showmanship 20%
- stage discipline or deportment 10%
Evaluation of Creating and Performing Activities: Musical

3 - Fair
Rating the other performers/groups:

1. How well did the performers express the
message of the musical? __________
2. How well did they perform in the musical
based on the following:
a. voice quality __________
b. expression __________
c. stage presence __________
d. audience impact __________
e. mastery of the musical __________
g. musical elements (rhythm, melody, dynamics) __________
h. technique __________
i. showmanship __________
Rating your own group members:

1. How well did your group members express the
2. How well did your group members perform? __________
3. How well did your group members coordinate with
each other during the performance in the ensemble? __________
4. How well did your group organize yourselves in
the ensemble? __________
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? __________
45
Quarter III
Sessions 4 and 5
NEW MUSIC COMPOSERS
I. SUBJECT MATTER

New Music Composers
Sub Topics: Jose Maceda

Lucrecia Kasilag
Ramon Santos
Fr. Manuel Maramba, OSB
Jerry Dadap
Francisco Feliciano
Josefino “Chino” Toledo
Jonas Baes

lives and works



Pages 119-124
II. LESSON PROPER
46
2. Motivation:
Choose recordings from past lessons to serve as a bridge to the new
lesson. Display the chart of composers begun in the last lesson. As the
class listens to selected excerpts of the recordings, display on the board
pictures of each of the composers.
1. Have the students watch and listen to presentations of the lives, musical
achievements, and works of Jose Maceda, Lucrecia Kasilag, Ramon
Santos, Fr. Manuel Maramba, OSB, Jerry Dadap, Francisco Feliciano,
Josefino “Chino” Toledo, and Jonas Baes.
2. Let them watch the following musical examples on YouTube:

a. Udlot-udlot by Jose Maceda performed at Senri Expo Park, Japan
b. Huntahang Gitara composed and conducted by Josefino Toledo
c. Banwa by Jonas Baes
d. Lullaby by Lucrecia Kasilag, National Artist for Music
e. Pamugun by Francisco Feliciano, National Artist for Music
f. Alay sa Inang Bayan by Jerry Dadap
3. Ask the students to express their personal reactions or feelings about

these composers’ works through group discussion and analysis. Have
them report the outcome of the group discussion in class.
C. INTEGRATION

Philippine History for a better understanding of the styles and their sources
of influence.

D. GENERALIZATION

elements with Western techniques in their compositions.
47
III. WHAT TO KNOW
1. Research on and describe the characteristics of New Music.
2. Discuss the lives and works of the following 20th century Filipino composers
and performers:
a. Jose Maceda e. Jerry Dadap

b. Lucrecia Kasilag f. Francisco Feliciano
c. Ramon Santos g. Josefino “Chino” Toledo
d. Fr. Manuel Maramba, OSB h. Jonas Baes
3. Point out the characteristics of the musical styles of the above-mentioned

Filipino composers.
Composer Characteristics of the Musical Style
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
IV. WHAT TO PROCESS
1. Play excerpts of recordings of any one composition by the following

Filipino New Music composers:
48
a. Jose Maceda - Ugma-Ugma; Agungan; Pagsamba; Ugnayan;

Udlot Udlot
b. Lucrecia Kasilag - Toccata for Percucssion and Winds; The Legend

of the Sarimanok; Divertissement and Concertante; Dularawan
c. Josefino “Chino” 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
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; Restless
e. Jerry Dadap - The Passionate and the Wild; Mangamuyo I);

Mangamuyo II; The Redemption; Five Little Fingers; Tubig ng
Buhay; Dakilang Pagpapatawad; 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; Diyos
Ama ay Purihin
f. Fr. Manuel Maramba, OSB - Aba!, Sto. Niño; La Naval; Lord

Takayama Ukon; Awakening; Seven Mansions; Papal Mass for
World Youth Day, 1995; Mass in Honor of St. Lorenzo Ruiz; Mass
in Honor of the Sto. Niño; 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; Ang Sarswela sa San Salvador; Pugad Lawin; The Virgin
of Naval; Transfiguration
g. Ramon Santos - 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); L’BAD
h. Jonas Baes - WALA (Nothingness); DALUY (flow); IBO-

IBON (Birdwoman); SALAYSAY; PATANGIS-BUWAYA;
PANTAWAG; BASBASAN (Blessing)
49
2. Let students listen carefully to each excerpt and be able to recognize

the different musical elements and styles of the composers.
3. Have them analyze the music focusing on the elements of music present,
such as rhythm, melody, tempo and dynamics, texture and harmony,
form, and timbre.
4. Let them choose a composition that they like and write a reaction paper
on it.
B. Evaluation of Listening Activity:

1. After the above Listening Activity, prepare selected excerpts of the

compositions that the students had listened to.
3. As you play 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
musical style. Then, the fourth student will write a description of the
music in one phrase.
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.
What was the most significant thing that you have learned from this
activity?
1. Divide the class into groups. Let them perform in solo, duet, trio, quartet,
and quintet.
50
2. Each group will compose a simple song incorporating indigenous music

and folksongs; or they may adapt a certain melody from the compositions
of the New Music composers that they like.
3. Have them write new lyrics to fit the music, and include an accompaniment
using guitar, flute, recorder, keyboard, percussion, or improvised musical
instruments.
4. If appropriate, encourage them to choreograph dance movements to interpret

the music of the composer that they have chosen.
5. All the groups will then perform their composition or song adaptation in
class, either a capella (without accompaniment) or with accompaniment.
6. Have the students answer the following: “How did you feel in incorporating
our indigenous music in your composition or song adaptation?” Have them
submit this paper in class next meeting.
VI. WHAT TO PERFORM
Creating and Performing Activities: Musical
1. Divide the class into four groups. Each group will choose a traditional
composer who was discussed in class, and research further on his life and
works.
2. Based on their research, have them create a contemporary musical on the

life of their chosen composer, incorporating some of his compositions
(melodic fragments) in the musical’s story.
3. Encourage them to improvise simple vocal or instrumental accompaniments

(example: guitar, keyboard, percussion) to the songs that they have chosen.
4. For the creation of the musical, ask them to explore ways of creating sounds
as accompaniment on a variety of sources or from the environment.
5. All the groups will then perform their musical in class.

51

3 - Fair

2. How well did the performers sing and act in
the musical based on the following:
f. pitch __________
g. rhythm __________
h. style __________
i. acting __________

3. How well did your group members participate? __________
Rating myself:

52
Quarter III
SONG COMPOSERS
I. SUBJECT MATTER

Song Composers
Sub Topics: Levi Celerio

Constancio de Guzman
Mike Velarde Jr.
Ernani Cuenco
Restie Umali
George Canseco
Angel Peña
Leopoldo Silos
Santiago Suarez

lives and works



Pages 125-140
II. LESSON PROPER
53
2. Motivation:
As the class listens to the recordings, display on the board pictures of
each of the composers. Choose recordings from past lessons to serve as
a bridge to the new lesson. Display the chart of composers in the last
lesson.
1. Let the students watch and listen to presentations of the lives, musical
achievements, and works of Levi Celerio, Constancio de Guzman, Mike
Velarde Jr., Ernani Cuenco, Restie Umali, George Canseco, Angel Peña,
Leopoldo Silos, Santiago Suarez
2. Have them watch the following video clips on YouTube

a. Bayan Ko by Constancio de Guzman as performed by Lea Salonga
b. Bato sa Buhangin by Ernani Cuenco, National Artist for Music as
performed by Raul Sunico, international concert pianist
c. Hanggang sa Dulo ng Walang Hanggan by George Canseco as
performed by Raul Sunico, international concert pianist
d. Maestro Angel Peña, The Trailblazer of Pinoy Jazz (Documentary)
e. Levi Celerio on Ryan Cayabyab Show; ASAP 18 presents The Music
of Levi Celerio; Regine Velazquez-Levi Celerio OPM Classics with
Ryan Cayabyab
f. Dahil sa Iyo by Mike Velarde Jr
g. Saan Ka Man Naroroon by Restie Umali
h. Dahil sa Isang Bulaklak by Leopoldo Silos Jr.
i. Bakya Mo Neneng by Santiago Suarez as performed by the Mabuhay
Singers
3. Let the students express their personal reactions or feelings about these
composers’ works through group discussion and analysis. Then, have
them report the outcome of the group discussion in class.
C. INTEGRATION

Philippine History for a better understanding of the styles and their sources
of influence.
54

D. GENERALIZATION

elements with Western techniques in their compositions. Some adopted the
kundiman as their form in composing their music.
III. WHAT TO KNOW
1. Discuss the lives and musical contributions of the following 20th century
Filipino song composers
a. Levi Celerio f. George Canseco

b. Constancio de Guzman g. Angel Peña
c. Mike Velarde Jr. h. Leopoldo Silos Sr.
d. Ernani Cuenco i. Santiago Suarez
e. Restie Umali
2. For each of the composers named above, ask the students to give the title
of any of his compositions.
Composer Title of Any Composition

________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
________________ ________________________________________
55
IV. WHAT TO PROCESS
1. Play excerpts of recordings of any of the following works by Filipino

song composers:
a. Levi Celerio - Ang Pipit, Sa Ugoy ng Duyan, Misa de Gallo,

Itik-itik (folk song), Tinikling (folk song), Ang
Pasko ay Sumapit
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
c. Mike Velarde Jr. - Buhat, Ikaw, Bituing Marikit, Minamahal Kita,
Dating Sumpaan, Dalisay, Eternally Yours,
Gabi at Araw, Dahil sa Iyo
d. Ernani Cuenco - Nahan; Kahit na Magtiis; Diligin Mo ng
Hamog ang Uhaw na Lupa; Pilipinas, Inang
Bayan; Isang Dalangin; Kalesa; Gaano Ko
Ikaw Kamahal; Bato sa Buhangin
e. Restie Umali - Saan Ka Man Naroroon, Alaala ng Lumipas,
Ang Pangarap Ko’y Ikaw, Sa Libis ng Barrio,
Di Ka Nag-iisa, Paano Kita Lilimutin
f. George Canseco - Ikaw, Kailangan Kita, Dito Ba, Hiram, Langis
at Tubig, 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
g. Angel Peña - Bagbagtulambing, Igorot Rhapsody, Concerto
for Double Bass and Orchestra, Concerto for
Jazz Quartet and Orchestra
h. Leopoldo Silos Sr. Dahil sa Isang Bulaklak, Hindi Kita Malimot,
Aling Kutsero, Ay Anong Saklap, Basta’t
Mahal Kita, Diyos Lamang ang Nakakaalam,
Hindi ko Malilimutan, Lagi Kitang Naaalala,
Langit at Lupa, Halina Halina, Lihim na Pag-
ibig, Mundo Ma’y Mawala
56
i. Santiago Suarez - 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 Ko!, Kay Lungkot Nitong Hating-Gabi,
Mutya Niyaring Puso
2. Have the students listen carefully to any musical excerpt and be able to
recognize the different musical styles of the composers.
3. Instruct them to analyze the music that they heard by noting the elements
of music present: rhythm, melody, tempo and dynamics, texture and
harmony, form, and timbre.
4. Let them choose a composition that they like and write a brief reaction
paper.
5. Have them answer “Why did you choose that composition?”
B. Evaluation of Listening Activity

1. After the above Listening Activity, prepare selected excerpts of

compositions by the following: Celerio, De Guzman, Velarde, Cuenco,
Umali, Canseco, Peña, Silos, and Suarez.
3. As you play 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
musical style. Then, the fourth student will write a description of the
music in one phrase.
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.
57
“What was the most significant thing that you have learned from this
activity?”
1. Let the students compose a simple song, for which they will write the lyrics
and the music.
2. They may also choose to adapt a certain melody from the compositions of
the song composers that they like, and write new lyrics to fit the music.
3. They may include an accompaniment using guitar, flute, recorder, keyboard,

drums, tambourine, maracas, or improvised musical instruments from the
environment.
4. Encourage them to add some dance movements or choreography to interpret

the music.
5. They will then perform in class their composition or song adaptation, as

well as the dance movements, if appropriate.
6. They may sing their song a capella (without accompaniment) or with

accompaniment.
7. After the class performances, ask the students: “What motivated you to
compose an original song or to adapt the music of an existing song?” “How
did you feel about this activity?”
VI. WHAT TO PERFORM
A. Singing Activity: Song Medley
Individual or in groups: Sing any of the compositions of Celerio, De

Guzman, Velarde, Cuenco, Umali, Canseco, Peña, Silos, and Suarez.
For group work, have the students do the following:
1. Let the students choose any three songs by the above composers that
they like best or that they are familiar with. Or they may opt to learn a
new song. Have them research further on the compositions, if needed.
58
2. Each group will choose their musical director and they will create a
three- to five-minute medley of their chosen songs.
3. To learn and practice the songs, they may bring “minus one” music on a
CD, or from their mobile phones or USB.
4. They may add instrumental accompaniment using a guitar, flute, recorder,

maracas, tambourine, or keyboard. Or they may improvise simple vocal
accompaniment.
5. Have them explore ways of creating sounds as instrumental

accompaniment to the song from varied sources or from the environment.
6. All the groups will then perform their song medleys in class, interpreting
the music with appropriate pitch, rhythm, style, timbre, dynamics,
melody, texture, harmony, and expression.
7. Choose the “Best Singing Group” based on the following criteria:

- presentation impact and showmanship 20%
B. Creating and Performing Activities: Musical
1. Divide the class into four groups. Each group will choose one song
composer discussed in class, and research further on his life and works.
2. Each group will then create a contemporary musical on the life of their
chosen composer, incorporating some of his compositions (melodic
fragments) in the musical’s story.
3. Let them improvise simple vocal or instrumental accompaniments

(example: guitar, keyboard, percussion). Have them also explore ways
of creating sounds as accompaniment from varied sources or from the
environment.
4. All the groups will then perform their musicals in class.

59

3 - Fair

2. How well did the performers sing and act

in the musical based on the following:
g. musical elements (rhythm, melody, dynamics) __________
h. technique __________
i. showmanship __________
j. acting __________

3. How well did your group members coordinate with
each other during the performance in the ensemble? __________
4. How well did your group organize yourselves in
the ensemble? __________
Rating myself:

60
Quarter IV: 20th and 21st Century Multimedia Forms
Quarter IV
20TH AND 21ST CENTURY
MULTIMEDIA FORMS
CONTENT STANDARDS
The learner demonstrates understand of...
1. Characteristic features of 20th and 21st century opera, musical play, ballet,
and other multimedia forms.
2. The relationship among music, technology, and media.
The learner…
1. Performs selections from musical plays, ballet, opera in a satisfactory level of

performance.
2. Creates a musical work using media and technology.
The learner…
1. Describes how an idea or story in a musical play is presented in a live
performance or video,
2. Explains how theatrical elements in a selected part of a musical play are
combined with music and media to achieve certain effects,
3. Sings selections from musical plays and opera expressively;
4. Creates/improvises appropriate sounds, music, gestures, movements, and
costume using media and technology for a selected part of a musical play;
5. Presents an excerpt from a 20th or 21st century Philippine musical and
highlights its similarities and differences to other Western musical plays.
61
Quarter IV
20TH AND 21ST CENTURY MULTI-MEDIA FORMS
OPERA IN THE PHILIPPINES
I. SUBJECT MATTER
A. Topic: 20th and 21st Century Multi-Media Forms
Sub Topics: Philippine Opera

a) La Loba Negra
b) Noli Me Tangere
c) El Filibusterismo
B. Materials: Pictures/slides of performances of opera, ballet,

musical plays, and Broadway musicals
Charts with bullet-highlights of the works
Musical scores


Pages 142-155
II. LESSON PROPER
2. Motivation:
As the class listens to the recordings of contemporary Philippine
composers, display on the board pictures of each of the composers.
lesson. Display the chart of composers taken up in the last lesson.
62
1. Let the students watch and listen to presentations or performances of

Philippine opera on a DVD.
2. Have them watch the following performances on YouTube:
a. Noli Me Tangere, The Opera

b. El Filibusterismo, The Opera
c. An excerpt from the opera La Loba Negra performed by Alegria
Ferrer
d. Opera Medley: 100 Yearsof World Class Music (UP Centennial)
e. Le Donna e Mobile, an aria from the opera Rigoletto by Verdi,
Brindisi, an aria from the opera La Traviata by Verdi performed by
The Three Tenors - Luciano Pavarotti, Placido Domingo, and Jose
Carreras
f. Wedding March from the opera A Midsummer Night’s Dream by
Mendelssohn
g. Triumphal March from the opera Aida by Verdi
3. After watching and listening to the opera, let the students express their
personal reactions or feelings about these works through group
discussion and analysis. Report the outcome of the group discussion in
class.
C. INTEGRATION
The lesson on 20th and 21st Century Multi -Media Forms may be integrated
with Philippine History for a better understanding of the styles and their
sources of influence.
Infusion of values: Appreciation of our nationalist composers, lyricists, story

tellers, and performers as major exponents of our cultural heritage.
D. GENERALIZATION
The opera is both an art form and a musical form. The singers and
musicians perform a dramatic work combining text (called libretto)
a and the
music usually in an elaborate theatrical setting. It incorporates many of the
elements of theater, such as acting, scenery, costumes, and sometimes
63
includes dance. The performance is typically given in an opera house, cultural

center, theater, or auditorium.
The performance is usually accompanied by an orchestra or a smaller musical

ensemble. The dialogue is mostly sang and not spoken. Opera is part of the
Western classical music form and tradition. It started in Italy at the end of
the 16th century and soon spread through the rest of Europe.mpositions.
III. WHAT TO KNOW
1. How did Philippine opera reflect life in the 20th century?
2. Discuss the characteristics of Philippine opera in relation to other multi-

media forms. Explain your answers.
3. What role did media and social media play in the development of these
musical genres specifically the radio, television, video, and recordings?
4 Explain how theatrical elements in a selected part of an opera or musical

play are combined with music and media to achieve certain effects.
5. Describe how an idea or story in a musical play is presented in a live

performance.
6. Describe how an idea or story in an opera or musical play is presented in a

music video.
IV. WHAT TO PROCESS
Listening and Singing Activities
You may let the class do these listening and singing activities separately or
combined together, depending on the allotment of time.
A. Listening Activity: Philippine Opera
1. Divide the class into groups. Each group will be assigned to research
on the lyrics of Philippine opera .
2. Play musical excerpts from the arias of Noli Me Tangere, La Loba Negra,
and El Filibusterismo.
64
3. Let the students listen to the selections carefully to appreciate the music.
4. Let them 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.
5. Let them choose a composition that they like and describe the lyrical
content and message that the piece wants to convey.
6. Let them write a reaction paper on their impression of the opera and its
message.
Evaluation of Listening Activity: Philippine Opera
Let the students answer the following rating questions:

3 = Fair
Rate scores are based on melodic appeal, message content, singability,

and text relevance to present day society.
1. How well did I listen to the aria from a Philippine

opera? ___________
2. How well did I listen to the vocal interpretations

of songs from Philippine opera? ___________
3. How well can I identify songs from Philippine opera?___________
4. How well can I describe the qualities of

Philippine opera through listening? ___________
B. Singing Activity: Philippine Opera
1. Divide the class into groups. Each group will be assigned to learn and
sing in class an aria from any of the Philippine opera discussed in class.
Suggested arias:
65
La Loba Negra - Napakahaba na ng Gabi
Noli Me Tangere - Kay Tamis ng Buhay

Huwag Mo Akong Pabayaan
Awit ng Gabi ni Sisa
El Filibusterismo - (search on the internet)
2. Let them practice singing the assigned aria with their group mates, using
the lyrics that they had researched.
3. Have each group sing their aria expressively in class, together with a
recording on CD or from the internet (YouTube). Time allotment for
each group is five (5) to ten (10) minutes only.
4. The group members may add choreography or some simple movements

or actions to interpret the aria. They may also use musical instruments
as accompaniment, and wear improvised costumes, if applicable.
5. Evaluate the performances based on:

- audience impact 20%
- stage presence 20%
- stage discipline and deportment 10%
6. Announce the “Best Performance Award.”
Enrichment Activities
Watch Live / TV Performances

1. Have the students watch live performances of Philippine opera that had
been discussed in class (if available in their area), or let them watch live
performances on TV or the internet.
2. Let them watch a live performance of a Western opera (ex: Rigoletto, Tosca,
La Traviata, Aida) or watch video clips or excerpts on TV or the internet.
3. They will then write a reaction paper on what they have watched.
Video Clips
2. Together with their group mates, have the students explore how multi-
media arts can be used to portray 20th century musical styles (specifically
Philippine opera) through a five-minute video clip using their digital cameras
or mobile phones.
66
3. They may use the internet as their reference.

4. Have them show and discuss their video works in class.
Group Activity
1. Divide the class into groups. Instruct each group to brainstorm among
themselves on Philippine opera.
2. Let them create a scene inspired by one of the Philippine operas they have
studied, using media and technology. They may incorporate elements from
local folktales, legends, history, biographies of heroes, and customs and
traditions.
3. For the music, they may compose their own aria or they may use or adapt
the melody of existing songs such as folksongs, indigenous music of their
area, or a Western aria. Then, let them write their own libretto suited to the
melody for the aria adaptation.
4. Instruct them to create or improvise appropriate sounds, music, gestures,

movements, and costumes using media and technology.
5. After this Performance Activity, let them answer the following: What insights
did I gain from this activity?
VI. WHAT TO PERFORM

Creating and Performing Activities
A. Live Performance of a Philippine/Original/Western Opera Excerpt
1. Divide the class into groups. Each group will choose an aria to perform
from any one of the following:
a) a Philippine opera (La Loba Negra, Noli Me Tangere,
El Filibusterismo)
b) the scene that they have previously created
c) an excerpt from a Western opera (Rigoletto, Tosca,
La Traviata, Aida)
2. Instruct them to create or improvise appropriate sounds, music, gestures,

movements, and costumes using media and technology for their selected
opera excerpt. Encourage them to be creative and improvise as needed.
67
3. All the groups will present the opera excerpt or scene they have prepared,
either using musical instruments as accompaniment or a capella (without
accompaniment).
4. Evaluate the performances based on:

5. Announce the “Best Group Performance Award.”
6. After the performances, ask the students to discuss the differences they
have observed and experienced between Philippine opera and western
opera.
B. Recording or Music Video
1. Divide the class into groups and let the students choose a group leader
who will assign 1 or 2 members to record the performance of their
group using a cassette recorder or they make a music video using their
mobile phone, digital camera, or video camera.
2. Let them play the recorded performance or show the music video to
their classmates.
3. Choose the “Best Video.”
Evaluation of the Performance Activity: Philippine Opera
You may also ask the students to evaluate the performance, using a rating scale:
Good, Better, Best
Rate scores are based on the group’s performance in terms of intonation, sound
quality, expression, mastery of the piece, and stage deportment.
1. Have a performance evaluation of how well each group sang any of the aria
from Philippine opera. The rest of the groups will serve as the judges.
2. Each group will have any of the following: three placards, score cards, or
paper sheets marked: GOOD, BETTER, BEST
68
3. The judging groups will raise their evaluation score cards after the
performance of each group. One student will be assigned to tabulate and
tally the results.
4. After the performance of all groups, the teacher will announce the winning
group with the “Best Performance” award.
Evaluation of Creating and Performing Activities: Philippine Opera
Let the students evaluate the performances of the individuals/groups/themselves.

4 - Good 1 - Needs Follow Up
3 - Fair
Rate scores are based on the performance quality.
Rating the other performers / groups:

1. How well did the performer/s express the
message of the musical? _______________
2. How well did the performer/s act based
on the following:
a. voice quality _______________
b. expression _______________
c. stage presence _______________
d. audience impact _______________
e. mastery of the musical _______________

message of the musical? _______________
2. How well did your group members perform? _______________
3. How well did your group members participate? _______________
Rating yourselves:
1. How well did I perform with my group
the Philippine opera? _______________
2 How well can I identify the opera based on
instrumentation, text, and purpose? _______________
opera through listening and singing to their
melody, harmony, rhythm, text, and mass appeal?_______________
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VII. ENRICHMENT / ASSIGNMENT
1. Have the students listen to selected aria from a Philippine opera: La Loba
Negra, Noli Me Tangere, and El Filibusterismo which were discussed in
class.
2. Let them also listen to arias of other Philippine operas: Spoliarium and
Why Flowers Bloom in May by librettist Fides Cuyugan Asensio.
3. Write a brief reaction paper about it. Research further on the topic, if needed.
70
Quarter IV
20TH AND 21ST CENTURY MULTIMEDIA FORMS
Sessions 4 and 5
BALLET IN THE PHILIPPINES
I. SUBJECT MATTER
Sub Topics: Ballet in the Philippines

a) Lola Basyang
b) Rama Hari

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Pages 156-162
II. LESSON PROPER
1. Review: Recall concepts from the past lessons.
2. Motivation:
As the class watches the performances of Philippine ballet (Lola Basyang

and Rama Hari) and Western ballet (Swan Lake, Nutcracker Suite, and
Giselle), display on the board pictures of each of the ballet performances
both Philippine and Western ballet.
71
1. Let the students watch performances of Philippine ballet or Western

ballet on a DVD.
2. Or they may watch the following ballet performances and recorded

interviews/documentaries on YouTube:
a. Sana’y Wala nang Wakas performed by Lisa Macuja, prima ballerina
and Coke Bolipata, violinist
b. Swan Lake performed by Lisa Macuja
c. Lisa Macuja-Elizalde, Prima Ballerina (documentary)
d. Moriones performed by Ballet Philippines
e. Karen Davila interviews Lisa Macuja
f. Swan Lake performed by Margot Fonteyn and Rudolf Nureyev
3. After watching and discussing the presentations, let the students add
these titles of Philippine ballet or Western ballet to the chart listing the
title of works, composers, visual aids, country, and style.
4. Have them express their personal reactions or feelings about these works
through group discussion and analysis. Then, report the outcome of the
group discussion in class.
C. INTEGRATION
The lesson on 20th and 21st Century Multi Media Forms may be integrated
with Philippine History , Literature, Art, and Music for a better understanding
of the styles and their sources of influence.
Infusion of values: Appreciation of our nationalist composers, story tellers,

and performers as major exponents of our cultural heritage expressed through
ballet.
D. GENERALIZATION
Filipino ballets vividly present folktales based on local fables. Examples are
Lola Basyang as well as epics from neighboring regions, like India’s
Ramayana. Highly communicative movements and steps dramatize the
actions in the respective stories. The colorful sets and costumes add to the
glitter and attraction of the productions.
72
Although not as extensively explored as the other performing genres for

local adaptation, Filipino ballet productions have evoked wide enthusiasm
from people of all ages. They have been added to the repertory of Philippine
dance companies to supplement the Western classical ballets, such as
Nutcracker Suite, Swan Lake, Giselle, and Sleeping Beauty.
III. WHAT TO KNOW
1. How did the different forms of Philippine ballet reflect life in the 20th century?
2. Discuss the characteristics of Philippine ballet and other multi-media forms.

Explain your answers.
development of Philippine ballet?
4. Discuss the relationship among music, technology and media in the

development of Philippine ballet. Explain your answers.
5. Explain how theatrical elements in a selected part of ballet are combined

with music, visual arts, and media to achieve certain effects.
6. Describe how an idea or story in a ballet is presented in a live performance

or video presentation.
7. How is Philippine ballet relevant to life in the 20th and 21st century in
relation to media and technology?
8. Discuss some characterristics of ballet that made it popular.
IV. WHAT TO PROCESS
Listening Activity: Music for Ballet
1. Play music recordings from Philippine ballet or Western ballet.
2. Let the students listen carefully to the recordings and let them analyze the
music Let them take note of the elements of music present, such as rhythm,
melody, tempo and dynamics, texture and harmony, form, and timbre.
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3. Let them express a visual figure or visual interpretation for a particular

piece that they like.
Evaluation of Listening Activity: Music for Ballet

3 = Fair
Rate scores are based on melodic appeal and suitability for the ballet’s theme and
story line.
1. How well did I listen to the musical interpretations
of Philippine or Western ballet? _____________
2. How well can I identify music from Philippine or
Western ballet? _____________
ballet music through listening? _____________
Group Activity: Compose Simple Ballet Accompaniment
1. Divide the class into groups.
2. Let each group compose a simple song or solo musical instrumentation that
will be used for simple ballet steps.
3. They may compose their own original song or they may use or adapt the
melody of existing songs (Ex: folksongs, indigenous music of your area,
pop, classical, ballet music, Broadway, and OPM).
4. Then, let them write their own lyrics suited to the melody for the song
adaptation
5. Encourage them to include an accompaniment (Ex: guitar, flute, violin,

keyboard, percussion instruments) or improvised musical instruments like
tambourines, maracas, triangle, and others that they may think of.
6. Have them create or improvise appropriate sounds, music, gestures,

74
7. They will then perform their music composition with simple ballet steps,
movements, or choreography.
8. After this activity, let them answer the following question: “What insights
did I gain from this activity?”
VI. WHAT TO PERFORM

Creating and Performing Activities
A. Live Performance of Ballet
1. Divide the class into groups. Have each group choose to perform simple
steps and choreography from any Philippine ballet, from the ballet that
they have previously created, or an excerpt from any Western ballet.
2. Let them create or improvise appropriate sounds, music, gestures,

movements, props, and costumes using media and technology for a
selected part of the ballet.
3. Let them perform the short ballet in class, using musical instruments as
accompaniment for their music works for the ballet.
4. Evaluate the group performances based on:

- creativity 40%
group using a cassette recorder. Or they make a music video using their
mobile phone, digital camera, or video camera.
2. Have all the groups play the recorded performance or show the music
video to their classmates.
75
Enrichment Activity: Film Viewing
1. Let the students watch video clips of the following ballets on the internet or
You Tube.
a. Swan Lake
b. The Nutcracker Suite
c. Giselle
2. Let them write a reaction paper on the viewed ballet performances.
Let the students answer the following.

4 - Good 1 - Needs Follow-up
3 - Fair
1. How well did I perform creative simple

ballet steps with my group? __________
based on instrumentation, text, and purpose? __________
through listening and singing to their melody, harmony,
rhythm, text, and mass appeal? __________
VII. GENERALIZATION
The Filipino Ballets vividly present folktales based on local fables. Example are
Lola Basyang as well as epics from neighboring Asian regions, such as India’s
Ramayana. Highly communicative movements and steps dramatize the actions
in the respective stories. The colorful sets and costumes add to the luster and
attraction of the productions.
Although not as extensively explored as the other performing genres for local
adaptation, the Filipino Ballet has evoked wide enthusiasm for people of all ages.
It has also added to the repertory of dance companies to supplement the Western
classical ballets.
76
VIII. EVALUATION
1. Have the students listen further to some music from Philippine and western
ballets, and identify their titles.
2. Let them play a game of “drawing lots” with the titles of various ballets
written on strips of paper. Ask them to say at least two things learned about
the Philippine or western ballet whose title they have drawn.
3. Let them research further on a Philippine or western ballet that they find
interesting.
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Quarter IV
20TH AND 21ST CENTURY MULTIMEDIA FORMS
Sessions 6,7, and 8

PHILIPPINE MUSICAL PLAYS
I. SUBJECT MATTER
Sub Topics: Philippine Musical Plays

a) Andres Bonifacio: Ang Dakilang Anak Pawis
b) Atang
c) Katy
d) Florante at Laura
e) Daragang Magayon
f) Noli Me Tangere
g) El Filibusterismo
h) Magsimula Ka

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Pages 167-186
II. LESSON PROPER
78
2. Motivation:
As the class listens to the recordings of Philippine musicals and Broadway
musicals, display on the board pictures of each of the performances.

lesson. Display the chart of ballet performances taken up in the last
lesson.
1. Let the students watch and listen to the presentations or performances

of Philippine musicals on a DVD.
2. Have them watch the following examples of Philippine musical

performances on YouTube:
a. Katy the Musical
b. Kitang Dalawa, Atang the Musical
c Magsimula Ka performed by Lea Salonga; Leo Valdez
d. Magandang Gabi performed by Nonoy Zuniga
e. El Filibusterismo, the Musical
f. Noli Me Tangere, the Musical
g. Daragang Magayon
h. Andres Bonifacio: Ang Dakilang Anak Pawis
3. After watching and listening to the performances, ask the students to

express their personal reactions or feelings about these works through
group discussion and analysis. Report the outcome of the group
discussion in class.
C. INTEGRATION
The lesson on 20th and 21st Century Multi Media Forms may be integrated
with Philippine History, Music, and Arts for a better understanding of the
creative styles and their sources of influence.
Infusion of values: Appreciation of our nationalist composers, lyricists, story

tellers, and performers as major exponents of our cultural heritage expressed
through Philippine musical plays.
79
D. GENERALIZATION
In the Philippines, the musical play is a more recent development than

Broadway and West End, relying mostly on adaptations from novels,
folktales, legends, myths, history, literary works, or biographical sketches
of famous artists and heroes. Musical plays have been associated with the
Broadway plays of New York City and West End Productions in London,
including My Fair Lady, South Pacific, Camelot, West Side Story, Les
Miserables, Phantom of the Opera, Lion King, Beauty and the Beast,
Wicked, Mamma Mia, Cats, and Miss Saigon.
III. WHAT TO KNOW
Let the students answer the follwing:
1. How did the different forms of Philippine music reflect life in the 20th
century?
2. Discuss the characteristics of musical play, broadway musicals, and other

multi-media forms. Explain your answers.
development of these different musical genres?
4. Discuss the relationship among music, technology and media in the

development of the musical play. Explain your answers.
5 Explain how theatrical elements in a selected part of a musical play are

combined with music and media to achieve certain effects.
6. Describe how an idea or story in a musical play is presented in a live

performance or video presentation.
IV. WHAT TO PROCESS
Listening and Singing Activities
1. Divide the class into groups. Each group will be assigned to research lyrics
of three musical excerpts of any Broadway musical and Philippine musical
play.
2. Play musical excerpts from the songs listed below.
80
Songs from Broadway Musicals

a. Phantom of the Opera (All I Ask of You, Music of the Night, Think of
Me, Phantom of the Opera)
b. West Side Story (I Have a Dream, Somewhere, Maria, Tonight)
c. Carousel (If I Loved You, You’ll Never Walk Alone )
d. Sound of Music (My Favorite Things, Eidelweiss, Do Re Mi, So
Long Farewell, The Lonely Goatherd, Maria, and The Sound of Music)
e. Miss Saigon (Sun and Moon, Movie in My Mind, I’d Give My Life
for You, I Still Believe, Last Night of the World)
f. Les Miserables (On My Own, I Dreamed a Dream, Empty Chairs
and Empty Tables, Do You Hear the People Sing?, Castle on a Cloud)
g. Beauty and the Beast (Something There, Be Our Guest, If I Can’t
Love Her, A Change in Me, Beauty and the Beast)
Songs from Philippine Musical Plays

a. Noli Me Tangere (Buksan Mo ang Iyong mga Mata, Paalam na
Pag-ibig,Sa Muling Pagkikita, Dalawang Liham, Tatlong Sulok ng
Pag-ibig, Ang Mga Sawimpalad, Ang Multo sa Lawa, Ang Totoo ay
Totoo, Sa Bagtasan ng Mga Landas)
b. El Filibusterismo (Awit ng Isang Lawin, Aklas)
c. Andres Bonifacio: Ang Dakilang Anak-Pawis (Marangal na Dalit
ng Katagalugan, La Deportacion, Awit ng Manggagawa, Anuman
Gagawin)
d. Katy! (Balut!; Ang Entablado ay Mundo; Tale, Tale; Pahiram ng
Kanta; Tupada; Bituing Tahimik; Minsan ang Minahal ay Ako)
e. Atang - Dulang May Musika (Nasaan Ka Irog, Pakiusap, Madaling
Araw, Nabasag ang Banga (from the zarzuela Dalaging Bukid),
Masayang Dalaga)
f. Florante at Laura (Pag-ibig ay Laging May Panahon, Sa Gubat,
Prutas at Lason, Isang Basong Pag-ibig, Awit ng Lumbay ni Florante,
Ligaya ng Dibdib, Sa Loob at Labas)
g. Daragang Magayon (note: research on YouTube)
h. Magsimula Ka (Magandang Gabi, Magsimula Ka, Pangarap, Pag-
ibig, Pag-asa, May Dilim, May Liwanag, Kahit Isang Dukha, May
Langit Ding Malalasap, Buhay Disco, Sisikat Din Ako, Tanging Ikaw
Lamang, Sa Tuwing Kapiling Ka)
3. Let the students listen to the selections to appreciate the music.
4. Have them sing the selections expressively together with the recordings or
from the internet (YouTube), using the lyrics that they researched. Time
allotment for each group is five (5) to ten (10) minutes only. Let them add
choreography and use musical instruments, if needed.
81
Evaluation of Listening Activity of Broadway Musicals
Let the students answer the following.

3 = Fair
Rate scores are based on melodic appeal, message content, singability, and text
relevance to present day society.
A. Broadway Musicals
1. How well did I listen to the songs from Broadway musicals?
a. Mamma Mia (from Mamma Mia) __________

b. Don’t Cry for Me Argentina (from Evita) __________
c. Summer Nights (from Grease) __________
d. Tomorrow (from Annie) __________
e. Memory (from Cats) __________
f. Beauty and the Beast (from Beauty and the Beast) __________
g. Sun and Moon (from Miss Saigon) __________
h. Send in the Clowns (from A Little Night Music) __________
i. On My Own (from Les Miserables) __________
2. How well can I identify songs from Broadway

musicals? __________

Broadway music through listening? __________
B. Philippine Musical Plays
1. How well did I listen to any of the vocal interpretations of songs from
Philippine musicals?
a. Noli Me Tangere
Song title: _____________________________ __________
b. El Filibusterismo
Song title: _____________________________ __________
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c. Andres Bonifacio: Ang Dakilang Anak-Pawis

Song title: _____________________________ __________
d. Katy!
Song title: _______________ ______________ __________
e. Atang - Dulang May Musika

Song title: _______________ ______________ __________
f. Florante at Laura
Song title: _____________________________ __________
g. Daragang Magayon
Song title: _______________ ______________ __________
h. Magsimula Ka
Song title: _____________________________ __________
2. How well can I identify songs from Philippine

musicals? __________

the music of Philippine musicals? __________
Evaluation of the Singing Activity

3 - Fair
Rating the other performers / groups:
1. How well did the performer/s express

the message of the musical? ______________
2. How well did the performer/s act based on

the following:
83
a. voice quality ______________

b. expression ______________
c. stage presence ______________
d. audience impact ______________
f. mastery of the musical ______________
VI. WHAT TO UNDERSTAND
Group Activity
2. Within each group, let the students brainstorm among themselves one work
from a Philippine musical play.
3. Let them create a short musical play using media and technology. They may
use local folktales, legends, history, biographies of heroes, and customs
and traditions as themes of their musical work.
4. For the music, they may compose their own songs or they may use or adapt
the melodies of existing songs such as folksongs, indigenous music of your
area, pop, classical, Broadway, and OPM. Then, let them write their own
lyrics suited to the melody for the song adaptation for their musical play.
5. Have the students create or improvise appropriate sounds, music, gestures,

6. After this activity, let them answer this question on a 1/2 sheet of bond
paper: “What insights did I gain from this activity?”
VII. WHAT TO PERFORM
Group or Individual Activities
A. Live Performance of Philippine musicals and Broadway musicals
1. Divide the class into two groups.
2. Let each group present an excerpt of a 20th or 21st century Philippine

musical and an excerpt of a Broadway musical.
84
3. Let them highlight the similarities and differences between these two
forms of musicals.
4. They may use musical instruments as accompaniment for their music

works or they may perform a capella (without accompaniment).
5. They may use props and costumes, if needed. Let them create or
improvise appropriate sounds, music, gestures, movements, and costume
using media and technology for a selected part of the musical play and
broadway musical.
6. Let them perform the short musical play in class. They may add some
choreography or movements and improvised props and costumes, if
needed.
7. Ealuate the performance based on:

group. They may use a cassette recorder or they make a music video
using their mobile phone, digital camera, or video camera.
2. Have each group play their recorded performance or music video to

their classmates.
Let the students answer the questions.

3 - Fair
85
Rating myself:
1. How well did I perform with my group the following

musical styles?
a. Philippine musical play __________
b. Broadway musical __________

based on instrumentation, text, and purpose? __________

through listening and singing to their melody,
harmony, rhythm, text, and mass appeal? __________
4. How well can I identify the different musical styles

(Philippine musical plays and Broadway musicals)? __________

3. How well did your group members participate? __________
VI. GENERALIZATION
In the Philippines, the musical play is a more recent development than Broadway
and West End, relying mostly on adaptations from previous novels, literary works,
or biographical sketches of famous artists.
In Noli Me Tangere and El Filibusterismo, for example, the treatment in the

musical play production leans more towards the artistic and collaborative
conception of music, dance, and visual effects rather than the thematic emphasis
of the opera.
86
VII. EVALUATION
1. Let the students listen to some songs from the Philippine musicals and
Broadway musicals discussed in class and let them identify their titles.
2. Let them play a game of “drawing lots” with the title on each lot. Let them
say at least two things learned about the Philippine and Broadway musicals
on which the title is drawn.
VIII. ENRICHMENT ACTIVITY
1. Songs from Philippine musicals - Let the students listen to some songs
from the following Philippine musicals:
Song of Joseph
Mayo Bisperas ng Liwanang (May Day Eve)
The Legend of M
Larawan ng Kababaihan: Maskara at Mukha
Hades Ladies by Fides Cuyugan-Asensio
2. Film Viewing - Let the students watch any Philippine musicals and
Broadway musicals in VCD/DVD format, o they may watch excerpts or
video clips on the internet or YouTube.
Have them write a reaction paper on the viewed musical.
87
88
MUSIC GLOSSARY
absolute music Music with no extra-musical association such as words, visual imagery, or emotion;
the opposite of program music
a cappella A Latin term, applied to choral music without accompaniment
aerophone Any musical instrument that produces sound primarily by causing a body of air to vibrate,
without the use of strings or membranes
alternative music An underground independent form in the 1980’s that became widely popular in the
1990’s for defying the excesses of “mainstream” rock music, Alternative Music became known for
its unconventional practices such as distorted guitar sounds, oppressive lyrics, and defiant
attitudes.
alto 1 A female voice with a range lower than a soprano, but higher than the male tenor
2 A term used for an instrument whose range is analogous to the alto voice
aria An air or song for solo voice with orchestra, usually part of an opera, cantata, or oratorio
art song Short stylized song dealing with such subjects as love, nature, and life. It is usually written
for one voice with piano accompaniment
atonality A term used for music without a central key, thereby producing dissonant harmonies and
disjunct melodies
avant-garde A French term used to describe composers (also artists and writers) whose works are
radical and advanced
ballad Is an expressive folksong in narrative verse whose text deals typically about love.
ballet An artistic dance form performed to music, using precise and highly formalized set steps and
gestures
beat Regular, current pulsation that divides music into equal units of time
bebop It is a modernist jazz style of music during World War II whose jazz spirit is coupled with the
harmonic standard structure as a new pattern to base its improvisation.
big band A large ensemble form originating in the United States in the mid 1920’s closely associated
with the Swing Era with jazz elements. Relying heavily on percussion (drums), wind, rhythm
section (guitar, piano, double bass, vibes), and brass instruments (saxophones), with a lyrical
string section (violins and other string instruments) to accompany a lyrical melody.
bodabil A genre of various entertainment composed of songs, dances, comedy routines, magic acts,
and chorus girls
bossa nova originated in 1958-59 as a movement effecting a radical change in the classic Cuban
samba. The word “bossa” comes from the Brazilian capital of Rio de Janeiro, which means either
‘trend’ or ‘something charming’, integrating melody, harmony, and rhythm into a “swaying” feel,
where the vocal production is often nasal.
blues A type of black American folk music of the 20th century related to jazz, and associated with
one’s state of mind
blues ballad A fusion of Anglo-American and Afro-American styles from the 19th century that
deals with the anti-heroes resisting authority.
call and response method It is a succession of two distinct musical phrases usually rendered by
different musicians, where the second phrase acts as a direct commentary on or response to the
first. Much like the question and answer sequence in human communication, it also forms a strong
resemblance to the verse-chorus form in many vocal compositions.
cha cha A ballroom dance originating in Cuba in 1953, derived from mambo and its characteristic
rhythm of 2 crochets – 3 quavers – quaver rest with a syncopation on the 4th beat.
chamber music Music for a chamber (or small room) rather than a hall; hence music played by small
groups—duos, trios, quarters, etc.
chance music Music in which chance or randomness of performance is an element of the composition.
chord The simultaneous sounding of two or more tones
chordophone Any musical instrument that produces sound primarily by vibrating strings
chromatic An interval based on an octave of 12 semitones rather than a diatonic scale
172
concerto Originally, a work (vocal or instrumental) with effects of contrast, but now a work in which
a solo instrument performs with a large ensemble or orchestra
counterpoint The simultaneous combination of two or more melodies, or polyphony
countersubject A subsidiary theme played in response to the subject of a figure
cumbia An African courtship dance with European and African instrumentation and characteristics,
which became popular in Panama and Colombia
disco Music pertained to rock music that was more danceable, which led to the establishment of
venues bearing the same name as a place for public dancing
dissonance An interval or chord that is not harmonious like a consonance
dynamics Variations in the volume of musical sounds
electronic music Music which uses electronic equipments

ensemble A small group of performers
expressionism A term borrowed from painting and literature for music designed to express a state of
mind
folksongs Songs by the people handed down from generation to generation

form Organization of musical ideas in time; structure of a musical composition
foxtrot A 20th century social dance in the USA that was executed as a one step, two step and
syncopated rhythmic pattern
harmony The combination of simultaneous tones to produce chords, and the relationship of successive
chords
idiophones A musical instrument that creates sound through its own vibration, without the use of
strings or membranes
impressionism A term borrowed from painting to describe music that is intended to convey an
impression (often of natural phenomena) rather than a dramatic or narrative idea
incidental music Music composed as a background in a stage production
interval The distance between two pitches, traditionally measured in terms of the steps in the diatonic
scale
jazz Music originated from African-American people characterization by improvisation, syncopation,

and usually a regular or forceful rhythm
jazz ballad A blues style built from a single verse of 16 bars ending on the dominant or half-cadence,
followed by a refrain/chorus part of 16 or 32 bars in AABA form
J pop Japanese popular music
jazz rock The music of the 1960’s and 1970’s bands that inserted jazz elements in its rock music. A
synonym for “jazz fusion,” jazz rock is a mix of funk and R & B rhythms
K pop Korean popular music
maracatu A form of Latin-American music that first surfaced in the African state of Pernambuco,
combining the strong rhythms of African percussion instruments with Portuguese melodies.
melody A succession of notes of varying pitch with a recognizable shape or tune
meter Organization of beats into regular groups
musique concre’te Music in which real (or “concrete”) sounds are electronically recorded
neo-classical A term describing the music of some twentieth-century composers whose techniques
draw on those of the Baroque and Classical periods
note Symbol used to indicate pitch
opera A drama set to music, with costumes and scenery to complement the musicians
173
opus The Latin word for “work” used with a number to identify a work in a composer’s output
paso doble (meaning “double step”) A theatrical Spanish dance used in bullfights, where the music
was played as the matador enters (paseo) and during passes just before the kill
pitch Relative highness or lowness of a sound
polyphony A texture in which two or more independent melodic lines are combined, as opposed to
heterophony, homophony, monophony
prelude A short instrumental work originally intended to precede another, but from the nineteenth
century a short, self-contained piece usually for piano
program music Instrumental music that is narrative or descriptive of some non-musical idea, often
literary or pictorial
progression A musically logical succession of chords
ragtime An American popular musical style mainly for piano, originating in the red light districts of
the Afro-American communities in St. Louis and New Orleans. Its style was said to be a
modification of the “marching mode” made popular by John Philip Sousa, where the effect is
generated by an internally syncopated melodic line pitted against a rhythmically straightforward
bass line.
reggae An urban popular music and dance style that originated in Jamaica in the mid 1960’s,
containing an English text coupled with Creole expressions that were not so intelligible to the non-
Jamaican.
rhythm The distribution of sounds into groups with a perceptible meter or pulse
rock ballad It is an emotional love song with suggestions of folk music, as in the Beatles’
composition “The Ballad of John and Yoko” and Billy Joel’s “The Ballad of Billy.” This
style is sometimes applied to strophic story-songs such as Don McLean’s “American Pie.
rock and roll Popular song form in the United States during the late 1940’s to the 1950’s that
combines Afro-American forms such as the blues, jump blues, jazz, and gospel music with
the Western swing and country music.
rumba A popular recreational dance of Afro-Cuban origin, performed in a complex duple meter
pattern and tresillo, which is a dotted quaver – dotted quaver – dotted semiquaver rhythm. It is
normally used as a ballroom dance
scale A sequence of notes going upwards or downwards by step

score The music-copy of a piece for several performers; hence full score, containing complete details
of every participating voice and instrument
serialism A method of composing using a series of tones (usually all 12 of the chromatic scale), or
other musical elements, which are heard only in a particular order
soprano 1 The highest female voice 2 A term used for an instrument of high range
soul music was a popular music genre of the 1950’s and 1960’s. It originated in the United States. It
combines elements of African-American gospel music, rhythm and blues, and often jazz
sound Vibrations which are transmitted, usually through air, to the eardrum, which sends impulses to
the ear that we hear
spiritual Normally associated with a deeply religious person, it refers here to a Negro spiritual, a song
form by African migrants to America who became enslaved by its white communities.
staff The set of lines on and between which music is written
standard It is a song of established popularity by virtue of its enduring and recurring power.
subject A theme or a group of themes on which work is based
suite An instrumental work in several movements, usually a set of dances, which in the seventeenth
and eighteenth centuries often took the form allemande-courante-sarabande-optional dance
movements-gigue
syncopation The stressing of beats of a meter that are normally unstressed
synthesizer A machine that produces and alters sounds electronically
174
tablature A system of notation by symbols that represent the position of a performer’s fingers (e.g., on
a guitar) rather than the tone to be played
tango A Latin-American dance form whose name may have been of African origin meaning “African
Dance” or from the Spanish word “taner” meaning to play (an instrument).
tempo The speed of a piece of music
tenor The highest normal male voice
theme A musical idea on which a work is based, usually with a recognizable melody
timbre Quality of sound that distinguishes one instrument or one voice from another
time signature Two numbers, one above the other, appearing at the beginning of a staff, or the start of
the piece, indicating the meter of a piece; the number above refers to the number of beats per
measure, and the number below represents the note that gets one beat
tonality The feeling of gravitational pull towards a particular tone, determined by the key of the music
tone Sound that has a definite pitch or frequency
tone-color The quality of the sound of a particular instrument or voice, or a combination of them
triad A three-note “common” chord consisting of a fundamental tone with tones at the intervals of a
3rd and 5th above
twelve-tone A term used to describe a technique of composition (serialism) in which all 12 notes of
the chromatic scale are treated equally
variation A varied (elaborated, embellished, etc.) version of a given theme or tune
waltz A nineteenth-century dance in triple meter

whole tone The interval of two semitones
zarzuela A musical stage performance popularized in the Philippines during the Spanish period
MUSIC PRONUNCIATION GUIDE

Music Terms Pronunciation
1. a capella ah kuh-pel-uh; Italian ah kahp-pel-lah

2. aria ahr-ee-uh; air-ee-uh; ahr-ee-uh; uh-rahy-uh
3. avant-garde uh-vahnt-gahrd; uh-vant-, av-ahnt-, ah-vahnt-; French a-vahn-gard
4. bebop bee-bop
5. bossa nova bos-uh noh-vuh
6. concerto kYn cháirtō
7. cha cha chah-chah
8. cumbia koo m-bee-uh; Spanish koom-byah
9. ensemble ahn-sahmb; French ahn-sahn-bluh
10. etude ey-tood, ey-tyood, ey-tood, ey-tyood;French ey-tyd
11. jive jahyv
12. maracatu marakatu
13. musique concre’te French pronunciation: [myzik kɔ̃.kʁɛt]
14. opera op-er-uh, op-ruh
15. opus oh-puh s
16. paso doble pah-soh doh-bley; Spanish pah-sawdaw-vle
17. prelude prel-yood, preyl-, prey-lood, pree-
18. reggae reg-ey
19. salsa sahl-suh; Spanish sahl-sah]
20. samba sam-buh, sahm-
21. tango tang-goh
22. tablature tab-luh-cher, -choo r
23. triad trahy-ad, -uh d
175
Musicians’ Names Pronunciation
1. Claude Debussy Claude [klôd), De·bus·sy [dèb byoo see]

2. Arnold Schoenberg Schoen·berg [shúrn bùrg]
3. Bela Bartok Bar·tók [bar tàwk]
4. Igor Stravinsky Stra·vin·sky [strY vín skee]
5. Sergey Prokofieff Pro·ko·fi·eff [prY káwfee ef]
6. Francis Poulenc Pou·lenc [pol angk]
7. Leonard Bernstein Bern·stein [búrn steen]
8. Karlheinz Stockhausen Stock·haus·en [stók howz’n]
ARTS GLOSSARY
abstractionism An artistic style in which the natural appearance of objects becomes unimportant, and
images are reduced to geometrical shapes, patterns, lines, angles, textures, and colors
acrylic A fast-drying paint containing pigment suspension in acrylic polymer emulsion
action painting A style of painting in which paint is spontaneously dribbled, splashed, or smeared on
the canvas, rather than being carefully applied
aesthetic Relating to or dealing with the beautiful; pleasing in appearance
airbrush A device that is used to spray a liquid (such as paint) onto a surface
android A mobile operating system (OS) developed for use on electronic devices such as a mobile
phone or tablet; sometimes also used to refer to the device itself using such an OS
animation The process of creating the illusion of motion or shape change by means of the rapid
display of a sequence of static images that are minimally different from one another
avant-garde Experimental or innovative, particularly in art and culture
balance A principle of art having to do with visual equilibrium, or two parts or sides of an artwork
having equal “visual weight”
celluloid A colorless flammable material used to make photographic film

cinematography The art of making motion pictures
collage An artistic composition of materials and objects pasted over a surface, often with unifying
lines and color
composition An organization or arrangement imposed upon the elements within a work of art
conceptual art Art that is intended to convey an idea or concept to the perceiver, and need not involve
the creation or appreciation of a traditional art object such as a painting or sculpture
contemporary art Art subjects, styles, and forms that are prevalent at the current time
contrast The use of opposing elements, such as colors, forms, or lines, in proximity to produce an
intensified effect in a work of art
copywriter The creator of text, normally for use in advertising in magazines, brochures, posters
cubism A style of art that stresses abstract structure at the expense of other pictorial elements,
especially by displaying several aspects of the same object simultaneously and by fragmenting the
form of depicted objects
dadaism A movement in art and literature based on deliberate irrationality and negation of traditional
artistic values
dark room A room from which all light is excluded, so that photographs can be developed in it
digital Referring to data (including images) that are created, stored, and transmitted through electronic
means
digital camera A camera that encodes images and videos through electronic means (rather than
through traditional film) and stores them for later retrieval and use
176
digital single lens reflex (DSLR) camera A camera that combines the features of a traditional single-
lens reflex camera with a digital imaging sensor, eliminating the use of film
distortion / distorted The alteration of the original shape of something, such as an object or image
documentary A film or TV program presenting the facts about a person or event
dubbing The act or process of furnishing a film or tape with a new sound track or adding music,
sound effects, etc. to an existing one
embellishment Anything that adds design interest to a piece, usually in sewing, arts, and crafts
entrepreneur A person who conceptualizes and develops a business
expressionism A theory or practice in art of seeking to depict the subjective emotions and responses
that objects and events arouse in the artist
fauvism A movement in painting characterized by vivid colors, free treatment of form, and a resulting
vibrant and decorative effect
filter In photography, a device that partially or completely absorbs certain light rays
fish eye A visual distortion, usually in a photographic image, created by a special lens resulting in a
convex, hemisphere-shaped image
focal Placed at or measured from a focus
footage Film that has been shot
foreground The part of a scene or picture that is nearest to and in front of the viewer
form The element of art pertaining to the three dimensions (height, width, and depth) of art objects; or
the appearance or illusion of these three dimensions, as in a painting
futurism A movement in art, music, and literature begun in Italy about 1909 and marked especially
by an effort to give formal expression to the dynamic energy and movement of mechanical
processes
genre A type, style, or category of art
haute couture “High fashion” or the creation of exclusive custom-fitted clothing

hue The property of color that distinguishes one color from another as red, green, violet, etc.
impasto An art technique involving heavy application of paint to canvas, often with a spatula or knife
instead of a paintbrush, and sometimes directly from the tubes of paint
impressionism A school of late 19th century French painters who depicted the appearance of images
by using strokes of unmixed colors to give the impression of the reflected light
improvised Created or devised with the use of whatever is on hand
installation art Art that is created, constructed, or installed on the site where it is exhibited, often
incorporating materials or physical features on the site
kinetic Relating to or exhibiting motion

kinetoscope An early motion picture exhibition device, designed for viewing films by one individual
at a time through a peephole viewer window in the top of the device
landscape In art, the depiction of natural scenery such as mountains, valleys, forests, and rivers as the
main subject of the artwork
mechanical style An artistic movement in which figures and images were reduced to basic elements,
such as planes, cones, spheres, cylinders, and other mechanical components; even human figures
were mere outlines without expression
mime The art or technique of portraying a character, mood, idea, or narration by gestures and bodily
movements
minimalism A style or technique (as in music, literature, or design) that is characterized by extreme
spareness and simplicity
177
mixed media Varied artistic materials and processes used in combination in one artwork
monochromatic Having only a single color
montage In filmmaking, the process of editing the film footage
monumental Huge, imposing, great
mythical Referring to a creature, character, or place that is found in myths, legends, and fantasy
stories
neodadaism A minor movement chiefly of the 1960s reviving some of the objectives of dada but
placing emphasis on the importance of the work of art produced rather than on the concept
generating the work
neoprimitivism An early 20th century art movement inspired by the native arts of Africa and the
South Sea Islands
neo-realism Any movement seeking to incorporate a modified form of realism, as in art, cinema,
literature, or philosophy
nickelodeon In the early 1900s, a motion-picture theater, variety show, etc. where admission was a
nickel (five cents)
nonobjectivism An artistic style that had no reference to recognizable objects; lines, shapes, and
colors were used in a cool, impersonal approach that aimed for balance, unity, and stability
op art “Optical art,” a style of abstractionism popular in the 1960s which made use of precisely
planned and positioned lines, spaces, and colors to create the illusion of movement
palette In art, a wooden board used for mixing colors for painting
performance art A form of theatrical art featuring the activity of the artist and works presented in a
variety of media
perspective The art of picturing objects or a scene in such a way as to show them as they appear to the
eye with reference to relative distance or depth
photomontage A combination of several photographs joined together for artistic effect or to show
more of the subject than can be shown in a single photograph
pictograph A written or drawn symbol that conveys its meaning through its visual resemblance to a
physical object
pigment A dry insoluble substance, usually pulverized, which when suspended in a liquid becomes a
paint, ink, etc.
playwright A writer of plays; dramatist
plotter A computer printer for printing vector graphics
pop art A form of art that depicts objects or scenes from everyday life and employs techniques of
commercial art and popular illustration
proportion A principle of art having to do with the relative size and positions of components in an
artwork; also called “scale”
rhythm A principle of art resulting from the repetition of elements or components of an artwork in a
specific pattern
satire A genre of literature, visual art, and performing arts in which shortcomings, vices, and abuses
of a certain segment of society are presented humorously in order to urge improvement
shutter In photography, a device for opening and closing the lens of a camera to expose the film
inside it to light
slapstick comedy Broad comedy characterized by boisterous action
snapshot A photograph, usually taken quickly and spontaneously
social realism Art used to comment on or protest against social ills such as injustice, inequality, war,
poverty, industrial hazards, environmental destruction, etc.
stencil A sheet of material that has been perforated with a pattern; ink or paint can pass through the
perforations to create the printed pattern on the surface below
178
still life A work of art in which ordinary household objects such as vases of flowers, plates, fruit,
food, and the like are depicted as the main subject
street theater The presentation of plays or other entertainment by traveling companies on the streets,
in parks, etc.
stucco A material made of lime, sand, and water used as a decorative coating for walls and ceilings
surrealism A style of painting depicting strange subjects like those seen in dreams and fantasies
symmetrical Having both sides of an object identical or very similar to one another, creating a sense
of balance
tablet A mobile computer with a touch screen display, circuitry, and battery in a single unit
tactile Perceptible to the sense of touch; tangible
texture An element of art having to do with the roughness or smoothness of an artwork’s surface
three-dimensional Having three dimensions: length, width, and depth
two-dimensional Having two dimensions: length and width
unity A principle of art referring to the integration of all the components of an artwork to create a
meaningful whole
value An element of art referring to the lightness or darkness of a color

variety A principle of art referring to the use of differences or modifications to create visual interest
viewfinder A device on a camera that indicates, either optically or electronically, what will appear in
the field of view of the lens
virtual Existing in the mind or the imagination, or in electronic data form
zarzuela A Philippine adaptation of the European opera, highly popular during the late 1800s to the
early 1900s
ARTS PRONUNCIATION GUIDE

Artists’ Names
Cezanne – say-ZAHN
Delacroix – deh-lah-KRWAH
Manet – mah-NAY
Monet – moe-NAY
Renoir – ruhn-WAR
Van Gogh – van-GO
Art Terms
aesthetic - es·thetíc
celluloid - sel´lu·loyd
cubism - kyu´bism
fauvism - fovísm
genre - zhon´r
montage - mon·täzh´
surrealism - sur·reál·ism
179
MUSIC BIBLIOGRAPHY
Books
Abraham, Gerald. The Concise Oxford History of Music. Oxford: Oxford University Press,
1990.
Ainsley, Robert (ed). Classical Music. New York: Smithmark Publishers, 1995.
Alberti, Luciano. Music of the Western World. New York: Crown Publishers, Inc. 1974.
Bartok, Bela . Album of Selected Pieces for the Piano, Volumes I and II. Compiled and
Arranged by Katherine K. Davis. Copyright by E. C. Schirmer Music Co.,
Boston,Massachusetts, USA.
Bonis, Ferenc. Bela Bartok. Budapest: Kossuth Printing House, 1981.
Burrows, John. (general editor). Classical Music. Introduction by Lady Solti. London:
Dorling Kindersley Limited, 2005.
Cultural Center of the Philippines. Encyclopedia of Music,
Cultural Center of the Philippines Library. Souvenir programmes.
Debussy, Claude. Preludes pour Piano. France: Durand et Cie, 1910..
Gershwin, George. Rhapsody in Blue. London, England: Chappel and Co., Ltd.
Guevara, Amelita D and Sternberg, Kathy (co-ed). Pag-ibig Song Book. Manila: The Manila
Symphony Society, 1986.
Miller, Hugh M. Introduction to Music. New York: Barnes and Noble, Inc. 1971.
Morgan, Robert P. Twentieth-Century Music: A History of Musical Style in Modern Europe and
America. New York/London: W.W. Norton and Company, 1991.
Prokofieff, Serge. 3 Concerto pour Piano, Op. 26. New York: Boosey and Hawkes, Inc., 1947.
Randel, Don Michael (compiled). Harvard Concise Dictionary of Music. London, England:
The Belknop Press of Harvard University Press, 2000.
Rimm, Robert (introduction). Twentieth Century Piano Classics. New York: Dover
Publications, Inc., 1999.
Romualdez, Norberto (ed.). The Philippine Progressive Music Series. New York: Silver
Burnett Company, 1950.
Sadie, Stanley and Alison Lathan (eds.). The Cambridge Music Guide. New York: The Press
Syndicate of the University of Cambridge, 1985.
Salzman, Eric. Twentieth-Century Music: An Introduction. Englewood Cliffs, New Jersey:
Prentice Hall, 1967.
Siegmeister, Erie. Invitation to Music. New York: Harvey House, Inc., 1962.
Schoenberg, Harold C. The Lives of the Great Composers. New York: W.W. Norton and
Company, 1981.
Slonimsky, Nicolas. The Concise Baker’s Biographical Dictionary of Musicians. New York:
Schirmer Books, 1986.
The Best of Broadway Songs Ever. Wisconsin: Hal Leonard Corporation.
University of the Philippines College of Music Library.
Online references
www.everynote.com
www.imlsp.com
www.naxosmusiclibrary.com
www.icking-music-archive.org
www.filipinaslibrary.org.ph
180
ARTS BIBLIOGRAPHY
Books
Duldulao, Manuel D. Contemporary Philippine Art. Vera-Reyes, Inc. Quezon City, Philippines.
1972.
Fleming, William. Arts and Ideas. Holt, Rinehart and Winston. New York. 1980.
Gatbonton, Juan T., Jeannie E. Javelosa, Lourdes Ruth R. Roa, eds. Art Philippines.
The Crucible Workshop. Pasig City, Philippines. 1992.
Time-Life Library of Art. The World of Cezanne. Time Inc., U.S.A. 1971
Time-Life Library of Art. The World of Delacroix. Time Inc., U.S.A. 1971
Time-Life Library of Art. The World of Manet. Time Inc., U.S.A. 1972
Time-Life Library of Art. The World of Monet. Time Inc., U.S.A. 1972
Time-Life Library of Art. The World of Picasso. Time Inc., U.S.A. 1972
Time-Life Library of Art. The World of Van Gogh. Time Inc., U.S.A. 1971
Online references
The Ateneo Art Gallery – http://www.ateneoartgallery.org/

The Center for Art and Thought – http://www.centerforartandthought.org/
Deviant Art – http://www.deviantart.com/browse/all/digitalart/
Yuchengco Museum – http://yuchengcomuseum.org/
Animation Council of the Philippines – http://www.animationcouncil.org/

Philippine Animation Studio Inc. – http://www.pasi.com.ph/flash/
Kenneth Cobonpue - www.kennethcobonpue.com/

Rajo Laurel – http://www.rajolaurel.com/
Monique Lhuillier – https://www.moniquelhuillier.com/
Josie Natori – http://www.natori.com/
Dita Sandico-Ong – http://dittachannel.com/intro/
Lulu Tan-Gan – http://www.tan-gan.com/
George Tapan – https://www.facebook.com/georgetapan

John K. Chua – http://adphoto.com.ph/photographer_profile/id/2
Federation of Philippine Photographers Foundation (FPPF) –
http://www.photoworldmanila.com/about-fppf/
Twine – http://twinery.org/
Stencyl – https://www.udemy.com/create-your-first-computer-game-with-stencyl/
GameMaker – https://www.yoyogames.com/learn
http://www.instructables.com/id/How-To-Make-A-Pinhole-Camera/
http://www.digitalcamerareview.com/default.asp?newsID=5464&news=how+to+take+great+pictu
res+with+your+point+and+shoot+camera
http://digital-photography-school.com/megapost-learning-how-to-use-your-first-dslr/
http://www.wikihow.com/Use-Your-Digital-Camera%27s-ISO-Setting
181

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HORIZONS

Music and Arts Appreciation

Raul M. Sunico, Ph.D.

Philippine Copyright 2015

Coordinator: Evelyn F. Cabanban

Cover Design: Rowena E. Cabanban

Quarter I MUSIC OF THE 20th CENTURY ............................................... 1

Impressionism to Modern Nationalism ........................................... 2

Electronic Music and Chance Music................................................. 12

Quarter II AFRO-LATIN AMERICAN AND POPULAR MUSIC.............. 19

African Music and Latin American Music........................................ 20

Jazz, Popular Music, and OPM .................................................... 29

Quarter III CONTEMPORARY PHILIPPINE MUSIC ................................. 36

Traditional Composers ............................................................. 37

New Music Composers ............................................................. 46

Song Composers ............................................................. 53

Quarter IV 20th and 21st CENTURY MULTIMEDIA FORMS.................... 61

Opera in the Philippines.................................................................... 62

Ballet in the Philippines .................................................................... 71

Philippine Musical Plays................................................................... 78

Quarter I MODERN ART ............................................................................... ..90

Quarter II TECHNOLOGY-BASED ART ................................................... 117

Computer / Digital Art ................................................... 118

Quarter III MEDIA-BASED ARTS AND DESIGN

Photography ...................................................................................... 138

Quarter IV ORIGINAL PERFORMANCE

Philippine Theater and Performing Groups ..................................... 163

Music Glossary ........................................................................................................ 172

Arts Glossary .......................................................................................................... 176

Music Bibliography ................................................................................................. 180

Philippine Copyright 2015

Coordinator: Evelyn F. Cabanban

Cover Design: Rowena E. Cabanban

Quarter I MUSIC OF THE 20th CENTURY ............................................... 1

Impressionism to Modern Nationalism ........................................... 2

Electronic Music and Chance Music................................................. 12

Quarter II AFRO-LATIN AMERICAN AND POPULAR MUSIC.............. 19

African Music and Latin American Music........................................ 20

Jazz, Popular Music, and OPM .................................................... 29

Quarter III CONTEMPORARY PHILIPPINE MUSIC ................................. 36

Traditional Composers ............................................................. 37

New Music Composers ............................................................. 46

Song Composers ............................................................. 53

Quarter IV 20th and 21st CENTURY MULTIMEDIA FORMS.................... 61

Opera in the Philippines.................................................................... 62

Ballet in the Philippines .................................................................... 71

Philippine Musical Plays................................................................... 78

Quarter I MODERN ART ............................................................................... ..90

Quarter II TECHNOLOGY-BASED ART ................................................... 117

Computer / Digital Art ................................................... 118

Quarter III MEDIA-BASED ARTS AND DESIGN

Photography ...................................................................................... 138

Quarter IV ORIGINAL PERFORMANCE

Philippine Theater and Performing Groups ..................................... 163

Music Glossary ........................................................................................................ 172

Arts Glossary .......................................................................................................... 176

Music Bibliography ................................................................................................. 180

The learner demonstrates understanding of...

From the Department of Education curriculum for MUSIC Grade 10 (2014)

A. Topic: 20th Century Musical Styles:

Composers (Debussy, Ravel, Schoenberg, Bartok, Stravinsky,

B. Materials: DVD/CD recordings, video clips, or recordings from YouTube/

CD/VCD/DVD/Karaoke players, computers, laptops,