UNIT 1: CONCEPT OF MUSIC

1. DEFINITION OF MUSIC (RAYMART ABORDO-REPORTER)

Music is part of our everyday lives. Why? Because we listen to music, we are engage with
music, we feel motivated when listening to music and we fell in love with the use of music.
We feel different feelings when we hear and understand the music. But what is the real
definition of music? According to Webster, music is the science or art of ordering Tones
or sounds in succession, in combination, and in temporal relationships to produce a
composition having unity and continuity. But how does music becomes an art? Here are
some proof as to why music is consider as an art by using them in different genre.

GENRE OF MUSIC:
1. Disco
2. Gospel Songs
3. Rock Music
4. Opera Music
5. Dance Music
6. Reggae Music
7. Pop Music
8. Folk Music
9. Heavy Metal Music
10. Hip hop Music

Music is an art because sounds are arrange in time to produce a composition through
elements of Melody, Harmony, Rhythm, and Timbre. It is one of the universal cultural
aspects of all human societies.
 2. OBJECTIVES OF TEACHING MUSIC (RUDLON AGUELO-REPORTER)

Goal I (Musicianship and Performance): Develop understanding, hearing, and

performance of music of different styles.

Learning Objectives:
 Correlate internal hearing with singing and pitch identification
 Identify and perform various rhythmic patterns of increasing complexity
 Sing a piece of music at sight based on the tonal, modal, chromatic, and atonal
systems
 Notate a piece of music in different musical styles
 Demonstrate proficiency on a primary instrument (or voice), in solo performance
and in large ensembles such as concert band, chorus, and jazz ensemble, and in
small chamber groups

Goal II (History): Understand musical styles and genres in relation to the key social,
political, economic, philosophical, and aesthetic forces that helped shape them.

Learning Objectives:
 Identify genres and styles of various musical traditions and historical periods both
in notation and aurally
 Analyse and evaluate music in relation to its historical, cultural, and social
circumstances
 Write effectively about music using precise analytical vocabulary
 Conduct research and evaluate research material on music and its performance
 Communicate research findings in coherent prose with precise citations following
an accepted standard, such as the Chicago Manual of Style

Goal III (Theory and Composition): Demonstrate a functional knowledge of music’s

grammar and formal structures.

Learning Objectives:
 Be able to analyse music of the Western classical tradition from the 18th-
21stcenturies
 Write brief exercises using musical materials and concepts from the periods
 Compose appropriately for instruments of the standard orchestra for small and
large ensemble

Goal IV: Leadership and Professional Skills: Demonstrate the skills and habits of mind
expected of those in the music profession.

Learning Objectives:
 Demonstrate leadership in rehearsal and performance contexts appropriate to
the instrument or ensemble at Lehman and in the community
 Pursue independent and collaborative projects in composition, theory, history, or
performance and present the results in a formal and professional manner.
 Evaluate and assess personal musical achievement; develop personal goals for
future musical endeavours.
 Demonstrate an ability to use music technology appropriately in a variety of
settings.
 3. HISTORY OF MUSIC
A. PRE-SPANISH PERIOD (MERIL AMARILLE-REPORTER)

Filipinos are said to be Musical Peoples. In most cases, singing is accompanied by

dancing. They used bamboo canes, Palm leaves and bark of trees to write their songs
and a piece of sharp stick or iron for their pen.

Functions of their music:

 Religious
 Social Life

Characteristics of their music:

 Recitative
 Mostly simple two note music

Example of these are:

 Dal-ot – a song sung by farmers during wedding, baptismal and other
parties accompanied by Kutibeng (guitar)
 Pamulinawen – is a love song
 Dung-aw – is a song requesting a dead person to be good in his next life.

ORIGINS OF THEIR MUSIC

Early Filipinos music was influenced by trade relations other races like:
 Malays
 Indonesians
 Arabs
 Chinese
 Indo-Chinese
 Japanese and
 Hindus

 Chinese, Japanese and Hindus introduce their five-tone scale called pentatonic.
 The rhythmic effects through the use of gongs, drums and cymbals were brought by
Hindus and Mohammedans.
 Reed type of wind instruments were brought by Japanese and Chinese.

MUSIC ACCORDING TO THEIR CATEGORY

 Ordinary Songs (diyuna, talindaw)
 Street songs (indulamin, suliranin)
 Sorrow (dalit, umbay)
 Wedding (ihiman)
 Rowing (tigpasin, kalusan)
 Lullaby (hele-hele, hali, oyayi, iyaya)
 Success (baling, kungkong, dapayain, hiliran, sambotani, tagumpay)
 House (tingad)
 General merry making ( kalipay)
 Counting (urukay)
 B. MUSIC AIRS OF EARLY FILIPINOS (CHESKA AVILA-REPORTER)

Filipino music has grown from the simple two note melody to the music that has
become today. The following are the native music from different provinces in the
Philippines.

 Bontoc Province
 Ayegkha
 Pagpag
 Bontoc
 Annaoy
 Davao
 Toddonan
 Igorot
 Milling Ayoweng
 Agusan
 Tub-ob
 Zambales
 Whistle
 Sulu
 Tungungo
 Negros
 Kalooye
 Nueva Icija
 Kadumang
 Abra
 Diwdiw-as
 Bunkaka
 Batanes
 Kalusan
 Benguet
 Igorot
 Bukidnon
 Dilay-on

FORMS
Their songs were more of recitative but the melody exudes customs, traditions and
aspirations.
ORIGINS
Most of the songs were adapted to other countries who traded with them like:

 Malays
 Indonesians
 Others
 C. INSTRUMENTS (MA. SOCORRO THERESE BAGOHIN-REPORTER)

INDIGENOUS MUSICAL INSTRUMENTS

 Aero phones – any musical instrument which produces sound primarily by causing a
body of air to vibrate, without the use of strings or membranes, and without the
vibration of the instrument itself adding considerable to the sound. Best represented
by the many types of bamboo flutes that are found all over the country.

 Lip Valley Flute

 Nose Flute
 Ring Flute
 Pipe with Reed

 Chordophones – any musical instrument which makes sound by way of a vibrating

string or strings stretched between two points. It include bamboo zithers, guitars,
violins and lutes.

 Kolitong
 Zither
 Kudlung
 Kudyapi

 Idiophones – any musical instruments which creates sound primarily by way of the
instruments vibrating itself, without the use of strings or membranes. Includes bamboo
buzzers, percussion sticks and gongs.

 Jaw Harp
 Bamboo Buzzer
 Kulintang
 Agung
 Bangibang

 Membraniphones – any musical instrument which produces sound primarily by way of

a vibrating stretched membrane.

 Dadabuan
 D. SPANISH PERIOD (1521-1898) (GEMMA BAHINTING-REPORTER)

CHARACTERISTICS
 More conservative style of sacred music.
 Minor key at the beginning shifts to a major key in the 2nd half Kundiman.
 Canto Ilocano, monnoohonic unmeasured style notated utilizing note shapes different
from the neumes of Gregorian chant (composition of the Kirial)
 Canto de Oregano, simple polyphonic setting in to two or more voval portraying.
 Religiously and Musicality – salvation of self-expression.
MUSICAL FORMS
 Sacred Music
 Figured Chant Music
 Measured Plainsong
 1795 (Golden Age of Sacred Music)
 Passion Song
 Other Musical Forms
 Songs - Harana
MUSIC
 As a fine art, as a subject to be taught.

SONGS
1. Tagulaylay: counterpart of “lamentation”
2. Palimos: song for begging
3. Kumintang: originated in Baylan, Batangas

a. Kumintang of the conquest

b. Kumintang of the Balayan
c. Kumintang with which the Awits are accompanied
Examples:
o La Tagala – Jose Estella
o Amihan - Antonio Molina
o Auras de Terruno – Juan S. Hernandez
o Pagdilidili – Lucino Sacramento
4. Awit
Examples:
o Awit – F. Santiago
o Ang ulila – Antonio Molina
o Batingaw na Pilak – Antonio Molina
o Recuerdo de Filipinas y Sus cantares – Diego Perez

5. Balitaw
 Balitaw Mayor
 Visayan Balitaw
 Tagalog Balitaw
 Dansa Menor
Examples:
1. Hatang-gabi – Antonio Molina
2. Sampaguita – Dalores Paterno
3. Ay, Ay Kalisud – Visayan Folksong

6. Kundiman: came from the words “kung hindi man”

 E. SONGS (KENNETH DAVE BAHINTING-REPORTER)

 Lullabies (Owiwi, dagdagay, oppia, lagan bata-bata,bua, and kawayanna)

 Didactic/figurative
 Occupational (dinaweg (boar), the kellangan(shark-fishing), and the didayu (wine-
making))
 Occasional (appros, non-sab-oy, sarongkawit, dikir)
 War
 Love (ading, sindil)

PATTERNS AND CHARACTERISTICS

 Improvisation
 Low and limited range of notes
 Melodic ornamentations
 Greater variety of voice quality
 Chant-like monotone singing in most groups
 Rhythmic freedom
 Large number of reiterated and marked accents on one vowel.

F. GAMES (NIKKA BERDIN-REPORTER)

DUPLO
 the beginning of the present Balagtasan

 an impromptu competition in reciting a poem, a sort of entertainment to console the

relatives of the deceased.

 Participants:
o Duplero – boy (Bilyako on the actual)
o Duplera – Girl (bilyaka Duplo)

 Coffee is served before the deplo begins.

 A judge or referee used a slipper alled palmatorya with which he beats the
palm of the loser.

 Sometimes, the loser is asked to recite a long piece of prayer for the soul of
the departed.
 G. PHILIPPINE THEATRE (RICHALIE BUYOC-REPORTER)

 Tondo Theatre – was erected mainly to stage Tagalog plays in 1841. Spanish dramas
were acted also there.

 Teatro Castellano – better known as Teatro de Binondo was built by Engineer Jose
Bosch for Manuel Ponce de Leon of where a variety of songs and plays are exhibited.

 Teatro Comico in Manila – Wenceslao Retana y Gamboa mentioned the existence of

these theatre in 1790.

 Arriceros Theatre – near the mehan garden presented Tagalog plays according to
Juan Atayde.

 Casino in Intramuros – here, evening parits were held by social gatherings

particularly the Recreational Society.

 Performances were held in vacant lots or fields.

 During celebrations such as town fiestas, performers used provisional
stage of nipa and bamboo.
 Later, theatre bodegas, as those seen over cockpits appeared.
THEATERS
 In 1841, Tondo Theatre was erected mainly to stage tagalog plays.

 Teatro Castellano or Teatro de Binondo was built by Jose Bosch.

 In 1790, Teatro Comico de Manila was mentioned by Wenceslao Retana Y. Gamboa

 Social gatherings were held at the Casino in Intramorous by the Sociedad de Recreo. There

were dancing, singing and instrumental performances.

 H. MORO-MORO (MARJORIE CUARES-REPORTER)

 Moro-Moro depicts the battle between the Christians and Muslims and the adaptations
of the legends about knight-errant’s and princesses.
 The Moro-Moro is a play that became popular in the Philippines during the Spanish
colonial period.
 Progressive historians have viewed the Moro-Moro as a tactic by the Spanish colonizers
to demonize the Moro’s, the largest ethnic group that successfully warded off attempts at
conquering them. The Moro-Moro plays helped fan the flames of anti-Moro sentiments
among the Christianized ethnic groups.
 The Moro-Moro dance is the earliest form of theatre performing in the Philippines,
starting 1650. It is part of their cultural routine when entertaining their visitors. The
dance is a play based off of two poems, the “awit” and the “corido,” that spread across the
Philippines around 1610. It usually shows the struggles between Christian and non-
Christians.
 The Moro-Moro dance expresses the love, deeds and different adventures of the kings,
queens, princes, princesses and dukes. It also shows a different creatures such as lions,
tigers, bears, snakes, dragons, angels, saints, devils and giants. The Moro-Moro is a very
long play; the show can go on for five to six hours a night for three nights in a row. The
longest play known lasted for 12 days.

I. CARILLO (EDJEN de la VICTORIA-REPORTER)

 Carillo is a shadow play using puppets made from cardboard.

 The themes were derived from the libretto from “Don Quixote”, “Buhay ng Mahal ng
Panginoong Hesukristo.”
 It is a form of dramatic entertainment.
 Perform during a town fiesta or on a dark nights after a harvest.
 Made by projecting cardboard figures before a lamp against a white sheet.
 The figures are moved like Marionettes.
 The dialogue are drown form Corrido or Awit.

VAROIUS NAMES IN DIFFERENT PLACES:

 CARILLO – Manila, Rizal, Batangas and Laguna
 TITRES – Ilocos Norte, Pangasinan, Bataan, Capiz and Negros
 TITIRI – Zambales
 GAGALO or KIKIMUT – Pampanga and Tarlac
 ALIALA – La Union
 J. ZARZUELA (MHELDEN DULFO-REPORTER)

 Zarzuela is a piece of entertainment with improvised plots that used in comic, tragic,

fantastic, and melodramatic or a combination of all. Later, these “Fiestas de Zarzuelas”

were simply called Zarzuela that involves singing and dancing in it. It has no definite

form. Singing was free and imaginative. Audience swapped comments with the artists

called Piscatorial Eclogue.

 Philippine opera evolve form the Zarzuela.

 Zarzuela was based on the European metrical tales and set to the familiar Spanish tunes

which easily gained approval among the traditionally theatre loving Filipinos.

 All Zarzuela are nationalistic in nature.

Examples of Zarzuela:

o Minda Mora (Minda, the Moro Girl) – Juan Henandez

o Pag-ibig sa Tinubuang Lupa (Love of Country) – Pascual Poblete

o Tanikalang Guinto (Chain of Gold) – Juan Abad

o Walang Sugat (No Wound) – Severino Reyes

 K. THE BAMBOO ORGAN OF LAS PINAS (JUNDILYN GACILO-REPORTER)

 The Las Piñas Bamboo Organ in St. Joseph Parish Church in Las Piñas City, Philippines is a
19th century church organ with unique organ pipes: they are made almost entirely of
bamboo. It was completed in 1824 by Father Diego Cera, the builder of the town’s stone
church and its first resident Catholic parish priest.
 After age and numerous disasters had rendered the musical instrument unplayable for a
long time. In 1972, the national government and the local community joined together to
have the organ shipped to Germany for restoration. For its anticipated return in 1975, the
home church of the bamboo organ and the surrounding buildings were restored to their
19th century state by Architect Francisco Mañosa and partner Ludwig Alvarez in time for
its scheduled return. The annual international Bamboo Organ Festival, a music festival of
classical music was started to celebrate the music of the reborn instrument and its unique
sound.
 Since 1992, Professor Armando V. Salazar has been the titular organist of the Bamboo
Organ. He is also the Artistic Director of the International Bamboo Organ Festival, now the
longest running annual international music festival held in the country.
 The organ was declared a National Cultural Treasure of the Philippines in 2003. The St.
Joseph Parish Church, the church museum at the old convent house and a famous organ is
a popular tourist destination for Filipinos and foreign visitors alike in Las Piñas.
 UNIT 2: MUSIC NOTATION
L. MISUC NOTATION SYMBOL (EDMALY GALDO-REPORTER)

 Symbols, used to make a written record of musical sounds.

 THE STAFF - The staff is the basis of written music. It is what the notes are presented on.
It consists of 5 lines with four spaces between them. A simple, unadorned staff is shown
below.
 CLEF - Is a sign at the beginning of a staff of music which makes it possible for the player
to work out what the notes are.
 TREBLE CLEF - Is the symbol at the beginning of a staff that indicates the pitches of the
notes on the staff. It is also called as G clef.
 TREBLE STAFF - The treble staff begins with the first line as an E. Each successive space
and line is the next letter in the musical alphabet. The staff ends with the last line as an F.
One of the most common phrases to remember the names of the lines is: Every Good Boy
Does Fine. To remember the spaces, just remember that they spell FACE starting from the
bottom.
 BASS CLEF - The bass clef, is the large symbol on the bottom staff or bass staff, in piano
music. The bass clef is also called an F clef, because it wraps around the highest F note on
the bass staff. The bass clef governs bass notes, which fall around middle c and below.
 BASS STAFF - The bass clef uses the same musical alphabet as treble, but the letters start
in different places. Instead of an E, the bottom line is a G, and the letters proceed logically
form there. The lines on the bass clef, from bottom to top are: G, B, D, F, A (Good Boys Don’t
Fight Anyone), and the spaces are A, C, E, G (All Cows Eat Grass).
 C CLEF - The C clef can move on the staff, and the center of the symbol is always over
middle C. depending on where it is, it is given different names. The note beside each clef is
middle C. these clefs are used very infrequently.
 GRAND STAFF - When the bass and treble clef are combined and connected by brace (left)
and lines, they become the grand staff. This greatly increases the range of pitches that can
be noted, and is often used in piano music, due to the piano’s wide range.
 BAR LINES – (Bold double bar lines) – used to separate measures. Bold double bar line –
used to indicate the conclusion of a movement or an entire composition.
 DYNAMIC SYMBOLS (Crescendo, Decrescendo) – the increasing and decreasing of volume
of notes.
 FLAT – lowers the pitch of a note by a semi tone.
 SHARP – raises the pitch of a note by one semi tone.
 NATURAL – cancels a previous accidental.
 FERMATA - (Pause) – an indefinitely-sustained note, chord or rest. Usually appears over
all parts at the same metrical location in a piece, to show a halt in tempo. It can be placed
above or below the note.
 MUSICAL NOTES - represents the pitch and duration of a musical sound.

WHOLE NOTE - A hollow oval note head represents a whole note or a semibreve.
The length of a full note is equivalent to four beats in a 4/4 time. A whole note
receives 4 counts, which means, you have to hold the note for its full value. 4 beats.
HALF NOTE - Played for half the duration of a semibreve. In other words, a minim
receives 2 counts, allowing the musician to hold the note for 2 counts instead of 4.
The minim, like the semibreve, is a hollowed oval with a stem or tail attached. 2
beats.
QUARTER NOTE - A quarter note is half of a minim, and one-fourth of a full note. It
is represented by a filled-in oval. Like the minim, a quarter note has a tail or a stem
attached to the note head, which points upwards or downwards depending on how
the note falls in a musical piece of work. 1 beat.
EIGHT NOTE - Played for one eight duration of a whole note or semibreve. It is
represented with a filled-in oval with a stem accompanied with a flag. The flag is
always positioned on the right side of the stem. ½ beat.
SIXTEENTH NOTE - It is played for one sixteenth the duration of a whole note. It is
represented by a filled-in oval note head with a straight stem-like a quaver-with
two flags. ¼ beat.
WHOLE REST – represents 4 beats of silence.
HALF REST – represents 2 beats of silence.
QUARTER REST – represents 1 beat of silence.
EIGHT REST – gets ½ beat of rest.
SIXTEENTH REST – gets ¼ beat of rest.
 UNIT 3: RUDIMENTS/ELEMENTS OF MUSIC
M. RHYTHM (APRILYN GARBO-REPORTER)

 Rhythm is that movement through time of the arrangement of tones and silences, of the
order of long and short notes, and of accents of these tones so that a regular movement
is produced.
 The most basic element of music because music can do without the other elements but
cannot exist without rhythm.

N. DYNAMIC (ANGELICA GAYO-REPORTER)

 In music, the dynamics of a piece is the variation in loudness between notes or phrases.
 Dynamics are indicated by specific musical notation, often in some detail.
 However, dynamics markings still require interpretation by the performer depending on
the musical context: for instance, a piano/p (quiet) marking in one part of a piece might
have quite different objective loudness in another piece or even a different section of the
same piece.
 The execution of dynamics also extends beyond loudness to include changes in timbre and
sometimes tempo rubato.

O. MELODY (VARY LARIBA-REPORTER)

 A melody is a collection of musical tones that are grouped together as a single entity.
 Most compositions consist of multiple melodies working in conjunction with one
another. In a rock band, the vocalist, guitarist, keyboardist, and bassist are all playing
melodies on their respective instruments.

 The melody in a piece of music consists of two primary components:

1. Pitch. This refers to the actual audio vibration produced by an instrument.

These pitches are arranged as a series of notes with names like C4 or D#5.
2. Duration. The definition of melody also includes the duration of time that
each pitch will sound. These durations are divided into lengths such as
whole notes, half notes, quarter-note triplets, and more.
 P. HARMONY (CHRIS FAYE LILANG-REPORTER)

 Harmony is the process by which the composition of individual sounds, or super

positions of sounds, is analysed by hearing. Usually, this means simultaneously
occurring frequencies, pitches (tones, notes), or chords.
 Harmony is a perceptual property of music, and along with melody, one of the building
blocks of Western music. Its perception is based on consonance, a concept whose
definition has changed various times throughout Western music.
 Harmony can be fully scripted by a composer, or it can be outlined by a composer and
fully expressed by the players performing the music. The orchestral scenario
described above is an example of harmony that’s tightly scripted by a composer—he
or she has assigned specific notes many single-note instruments, and those notes
combine to form chords. This is common practice in the European tradition of classical
music.

Q. TONE COLOR (JESSA MAE MACION-REPORTER)

 Tone Color is used by many as a synonym to that fifth element called ‘Timbre’ (Tam-ber).
 We use tone color to separate the sound of one instrument from another.
 Tone Color (timbre) is the result of a complex waveform holding more than one
frequency.
 The tone color or timbre of each instrument makes it possible for you to tell them apart.
 Tone color is the characteristic that allows us to distinguish the sound of one instrument
from another. For example, when you hear a clarinet and a guitar play the exact same
pitch, the tone color of each instrument allows you to tell the difference between the
sounds that you hear.

R. TEXTURE (MARIBEL MALATE-REPORTER)

 Texture is how the tempo, melodic, and harmonic materials are combined in a musical
composition, determining the overall quality of the sound in a piece.
 The texture is often described in regard to the density, or thickness, and range, or width,
between lowest and highest pitches, in relative terms as well as more specifically
distinguished according to the number of voices, or parts, and the relationship between
these voices.
 A piece's texture may be changed by the number and character of parts playing at once,
the timbre of the instruments or voices playing these parts and the harmony, tempo, and
rhythms used.
 S. FORM (ZYNSSA FAYE MOSOT-REPORTER)

 Form refers to the structure of a musical composition or performance.

 The term is regularly used in two senses: to denote a standard type, or genre, and to
denote the procedures in a specific work.
 The nomenclature for the various musical formal types may be determined by the
medium of performance, the technique of composition, or by function.