A RESEARCH PAPER ON

CREATING A SYSTEM-BASED APPROACH AND STANDARDS

ON DOCUMATING MUSIC FOR LEGACY USE IN LUWAL
SINING- PAGGANAP

SUBMITTED BY:

Philip Llave

Matthew Gabriel Hernandez

John Erin Gonzaga

Mavwinz Jeruz Libo-on

Shawn Brixter Bautista

SUBMITTED TO:

Jennie Joie Malangis Cacho

 ACKNOWLEDGEMENT

The completion of this undertaking could not have been possible without the participation

and assistance of so many people whose names may not all be enumerated. Their contributions

are sincerely appreciated and gratefully acknowledged.

To all relatives, friends and others who in one way or another shared their support, either

morally, financially and physically, thank you.

Above all, to the Great Almighty, the author of knowledge and wisdom, for his countless

love.

We thank you,

RLSAA Grade 12 Research Group

=
 ABSTRACT

Luwal Sining-Pagganap (LSP) is a performing arts group from the Regional Lead School

for the Arts in Angono. Their music making pipeline is very extensive, covering different stages

from text analysis to complete orchestration and arrangement. However, the music

documentation phase of a piece is not as good as it should have been. The current documented

music only contains a few chords, inconsistent time signature labels, lacking important metadata

like revision dates and piece order, and only provides the bare minimum of information—which

is not enough. Using descriptive documentation and observation, the researchers are successful

in documenting the process of properly documenting music. By including the right piece

metadata, including proper reference material, proper publication methods, and proper storing

techniques, the music documentation stage of any piece from this research’s creation onwards

will be as extensive as the other processes, ensuring the piece will be ready for legacy use at any

given time.
 TABLE OF CONTENTS

CHAPTER I

Introduction 1

Background of the Study 1

Statement of the Problem 1

Purpose of the Study 2

Scope and Delimitation of the Study 2

Definition of Terms 2

CHAPTER II

Review of Related Literature 4

CHAPTER III

Research Method 6

Data Gathering Instruments 6

CHAPTER IV

General Treatment 7

General Engraving Treatment 7

General Publication Treatment 13

General Storage Treatment 13

Case Study #1: Song 14

Case Study #2: Underscoring 15

Case Study #3: For-Recording Pieces 16

CHAPTER V

Summary of Findings 17

Conclusion 18

Recommendation 19

Appendix 19
 CHAPTER 1
THE RESEARCH PROBLEM

I. Introduction

Luwal Sining-Pagganap (LSP) is a performing arts group from the Regional Lead

School for the Arts in Angono. They have produced numerous productions throughout its

history. Their music team is famous for show tunes such as “Iyak ni Ursula”, “Kuweba”,

“Katotohanan” and many others. Their music making pipeline is very extensive, covering

different stages from text analysis to complete orchestration and arrangement. However, the

music documentation phase of a piece is not as good as it should have been. The current

documented music only contains a few chords, inconsistent time signature labels, lacking

important metadata like revision dates and piece order, and only provides the bare minimum

of information—which is not enough.

II. Background of the Study

Music documentation is the process of preparing music, adding it to an index, and

storing it in a digital or physical format. It is an important process in the music making world

to preserve the pieces performed—especially for original pieces that were never heard

before. One of its use cases is whenever a musician wants to perform an existing piece, they

could just ask their music library to index the piece and retrieve it. This process governs

several other processes such as music preparation/copying, and music bookkeeping.

III. Statement of the Problem

This research aims to create a systematic approach and standards to documenting

music in Luwal Sining-Pagganap. It seeks to find analysis on these questions:

1. How will the music be prepared?

a. How will the music be engraved?

b. How will the music be published?

2. How will the music be stored?

IV. Purpose of the Study

The research aims to create a system and a standard on properly documenting music

wherein the music instructions, and metadata are documented extensively, does not rely on

recorded material alone, and produces a tangible product in the group’s music making

pipeline. Future members who wish to use the pieces (may it be creational, recreational, or in

the context of a performance) can easily index pieces from LSP’s music library. The

researchers also expect that this system and standards will be used to govern Luwal Sining-

Pagganap’s music making process.

V. Scope and Delimitation of the Study

The researchers are motivated to conduct this research for the group’s internal use.

The research will not cover use cases outside of Luwal’s use cases. The research will only

cover the music documentation aspect of the music making process, as composition, and

arrangement are out of the field’s scope. The research will cover 3 unique cases of

documenting music: Song, underscore, and “for-recording” pieces. These cases are all taken

in the context of performing it live except for the “for-recording” pieces. Concerning the

scope of the band parts, the researchers will only cover the instrument parts and the full

score. Vocal and Piano/Vocal parts are not covered in this research.

VI. Definition of Terms

 Music documentation – it is the process of documenting music for use in future runs

of the production or as reference for creational, recreational, and interpretative purposes.

Music preparation – it is the process of extracting, formatting, and printing out of all

the parts, and the score for production use. This can also be called as music engraving or

music copying.

Music bookkeeping – it is the process of storing physical and/or digital sheet music in

a systematic way.

Arrangement – it is the process of reworking a musical composition to be played by a

different instrument or set of instruments. The reworking may include reharmonization,

change in order, rhythm changes, etc.

Orchestration – it is the process of taking a musical composition, may it be arranged

or not, and expanding it to be played by an indicated instrumentation.

Instrumentation – it is a list of musical instruments to be used when performing a

piece.

Score – it is a type of sheet music that contains all the parts the musicians are going to

play aligned by their measures.

Part – it is the individual piece each instrument is going to play as a collective.

Measure – it is a unit of musical time that contains all the information that a player is

going to do in a specific portion of the piece.

Vamp – it is a measure or measures of a piece where it is repeated for an indefinite

amount of time until the conductor tells a player to move to the next measure.
 CHAPTER II
Review of Related Literature
There are many ways in which bookkeeping can be useful. Bookkeeping denotes to

the different recording methods businesses can use. However, if the people doing it do not

have bookkeeping and accounting information, he/she can make a mess of their books which

can be expensive. Depersio (2021) said in their study, that bookkeepers must be able to shift

focus easily and catch tiny, hidden mistakes in a budget or invoice.

There are other ways of storing data such as music bookkeeping wherein musical

sheets are stored and preserved for the next organization to use. In music bookkeeping, music

engraving comes in. Music engraving is the art inputting musical notations at high quality for

the intent of mechanical reproduction. Flom (2016) said in their study, that at its most

primitive level, engraving requires only a well-trained eye and hand, but as technology

continues to infiltrate the music industry, many engravers have a great knowledge of the

software, conventions, and even computer code involved in making an authoritative version

of the composer’s music.

Not as far as what a music engraver is like, music copyists toil towards a single event,

usually a recording session or performance, and music engravers produce manuscripts for

publication. Copyists will be given a musical arrangement that comprises several

instruments, and it’s the job of the music copyist to separate and put onto different sheets of

paper the notes for each specific instrument. Boelcke (2022) said in their study, that a music
copyist will typically work for individual aspiring musicians who want their original scores

reproduced in order to give to band members or simply for safekeeping.

Related Literature

“In music bookkeeping, while there are many ways the bookkeeper could potentially

organize his/her sheet music for reference and performance, there are approaches that they

have found to be most beneficial personally. As the bookkeeper have figured out how to

organize his/her sheet music, he/she have had better results finding the pieces of music the

he/she need when he/she need them. Both of the methods are simple, easy to understand, and

practical for the active musician.

1. The Notebook System. This method is a great way to keep a specific collection of sheet

music all together in one place -- ready to grab and go. If the bookkeeper stores their music

on a rack, this will help their music organization to be more efficient and tidier. Within the

notebook, there are a couple of options to consider.

Variation 1 – One way to store the music is by means of poly page protector sleeves

to keep each piece of music distinctly. The sleeves will accommodate up to the standard

8.5x11 sheets of paper, but can hold octavos as well. It's a good idea to have the pieces

ordered alphabetically within the notebook to aid in quick look up by title.

Variation 2 - Another way to use the page protectors is to put two sheets per sleeve,

back-to-back (or one sheet printed on both sides), so that all the music is comprehensible as

they flip through the notebook. This is more practical for piano accompanists and other live

recital applications. This way, you don't have to remove the sheet music from the sleeve in

order to read it. When using the music for performance, it is best to have it organized in

concert order rather than alphabetically.

2. The File System. For storing sheet music for reference and later use, using a filing cabinet can

be very beneficial. A tip is by having hanging folders that signify each category, with

individual manila folders for each piece of music that the bookkeeper wants to store. Marking or

categorizing the folders makes finding them much easier.” (Epstein, 2012).

CHAPTER III

Research Method

The researchers plan to use the descriptive documentation method. This method

operates by documenting the process of how the sheet music goes from the copyist to the

music stand, to the production, to the storage area. The data that the researchers will compile

will ultimately be used to make a systematic approach and standards on music documentation

for the performing arts group, Luwal Sining-Pagganap.

Data Gathering Instruments

The data gathering instrument used in this research is observation. Observing how the

music documentation process goes and documenting it in a descriptive way. By the 10 th of

June 2022, the data gathering phase is already complete. The results of the data will be

presented in the next chapter onwards.

CHAPTER IV

Presentation, Analysis, and Interpretation of Data

General Treatment

The orchestrator hands the finished orchestration to the music preparation team

(music copyists), and the copyists’ job is to extract and prepare all the parts as well as to

prepare the score for production use.

The process is divided into three parts: the engraving phase, the publication phase,

and the storing phase.

General Engraving Treatment

The engraving phase is the first to be done in the process. The phase is where the

copyists extract the parts and prepare the score digitally. The copyists used Musescore 3.0 as

their main copying software, however they said that any notation software can be used as

long as it’s the only one to be used in a show.

Piece information is placed on the first page and is on the very top (Figure 1.0). It

should contain the piece title, revision date, composer, lyricist, orchestrator, part name, work

number, and show title. The items are placed in the order indicated in Figure 1.1.

Figure 1.0

Piece information in the Guitar 1 part of the song “Siklab”

 The revision date is always below the title so that the piece version is immediately visible

to the player. The revision date serves as version control whenever something is updated in

the piece. This is particularly useful whenever the piece happens to have multiple printed

copies for the same instrument part.

When the piece calls for a specific type of instrument, it is indicated below the part name.

For example, if the piece calls for an electric guitar, it would be explicitly stated below the

part name (Figure 1.2).

Figure 1.2

Part name with a specific instrument

If the piece happens to be prepared for a specific version of the show (for example a

workshop, or previews, or a touring production), it will be indicated after the show title in

parenthesis (Figure 1.3).

 Figure 1.3

Show title in a workshop production

Work number is always frozen on production. Whenever there is a piece added in

between consecutive numbers (say piece #4 and piece #5), letters are to be used (Figure 1.4).

Figure 1.4

Piece created after a work number freeze

On every 4-8 measures, a line break is placed to avoid cramping of measures making

the sheet music legible to the musician. The line breaks are also placed in accordance with its

phrasing making the reading experience much more of a breeze.

Measure numbers are placed on every bar, not just on every system. This avoids

unnecessary counting during rehearsals (Figure 1.5).

 Figure 1.5

Measure numbers are placed on every bar

Measure numbers are always frozen on production. Whenever a bar is cut, the bars

still retain their previous number to avoid confusion (Figure 1.6). Whenever bars are added,

letters are used to extend the measure count (Figure 1.7). The only exception to this

specification is if the piece has not yet been given to the players. Whenever these changes

occur, it is recommended to put an indicator placed inside brackets (Figure 1.6).

Figure 1.6

Measure 136 jumping to measure 145 with an indicator

Time signatures are 4.00sp taller than the barlines. This catches the attention of the

player whenever there’s a time signature change (Figure 1.8).

 Figure 1.8

Time signature 4.00sp larger

Page turns are always indicated at every odd page of the piece (including the first page)

(Figure 1.9).

Figure 1.9

Page turn indicator

The header is found on the topmost portion of the pages (minus the first page). It contains

the piece name, revision date, work number, page number, and part name. The information is

spaced between and aligned to the top (Figure 1.10). The piece name, revision date, and work

number are on the left size of the header; formatted as seen in Figure 1.10. The center of the

header contains the page number in between two hyphens. The right side of the header

contains the part name without a specified instrument.

 Figure 1.10

Part header

The footer is found in the bottom of the pages. It contains the copyist information, the

serialization, and the show title. The information is spaced between and aligned to the

bottom. The copyist information is written on the left side. The serialization is on the center.

The show title is on the right side enclosed in oxford double quotes (Figure 1.11).

Figure 1.11

Part footer

The serialization is formatted with “LSP-” as the prefix, signifying it’s a Luwal Sining-

Pagganap work. It is then followed by a 4-character code for the show title, in this case the

show title is “Recital 2022” hence the code GR22 is used. It is then capped off using a three-

digit work number, in this case the work number is #2 hence the code 002 is used.

Cues are indicated using the text and the content is from the script itself. The cues serve

as a semantic aide to indicate at what time to come in, or what portion of the segment it is in.

Whenever it is a character cue, it is written with a character name (boldened) followed by a

colon, then the line (Figure 1.12).

 Figure 1.12

Dialogue cue

General Publication Treatment

The publication phase is the printing and bookkeeping step. It is where the parts and

score are printed onto a physical paper and stored in a library or stored in a shared cloud

storage like Google Drive.

For the physical publication treatment, the copyists used a German fan-fold legal size

paper (8.5 x 13in) to fit the score into. The copyists also used letter size paper (8.5 x 11in) for

the parts. Along with the paper size treatment comes the weight treatment as well. The parts

and score all use 100GSM card stock paper. This ensures that the pieces are heavy enough

not to be carried away by the wind easily, secures less ink bleed-throughs, and ensures

longevity.

The music also gets an audio reference treatment. MIDI exports of the pieces will be

produced for audio referencing.

General Storage Treatment

Once all the materials are prepared and ready for bookkeeping, it is stored digitally or

physically. When the storing method is digital, it is stored inside LSP’s proprietary google

drive. The parts and score are stored in its show name and in the show name’s music folder

for easier indexing. For physical storage, it is stored in a folder with the show name kept by

the production librarian. The sheet music metadata is then encoded inside of a spreadsheet

accessible by all and is indexed according to its serialization.

Case Study #1: Song

This case study covers the music preparation and documentation process for “Siklab”

from “Si Pauline at Ang Kanyang Pinakamagandang Dress”. “Siklab” is a song that is

dependent on dialogue cues. It is a power rock ballad-type of music.

The music includes vamps for dialogues to fit in (Figure 2.0).

 Figure 2.0

Vamps in the Bass part of “Siklab”

The conductor part includes the dialogue cues. The keywords spoken are highlighted

using underlines and followed by “(GO ON)” (Figure 2.1, 2.2, 2.3).

Figure 2.1

Conductor cues #1

Figure 2.2

Conductor cues #2
 Figure 2.3

Conductor cues #3

Case Study #2: Underscoring

This case study covers the music preparation and documentation process for “Ang

Trahedya” from “Si Pauline at Ang Kanyang Pinakamagandang Dress”. It is a chaotic and

eerie underscoring.

The piece information eliminates the need for the lyricist information (Figure 3.0), as the

piece is only music. It still requires a few dialogue cues to indicate entrances (Figure 3.1).

Figure 3.1

Underscore cue

Lyric cues are not present compared to songs.

Case Study #3: For-recording Pieces

This case study covers the music preparation and documentation process for “Mitsa”

from “Si Pauline at Ang Kanyang Pinakamagandang Dress”. It is a chorale-heavy, dreamy

type of music.

For-recording pieces are indicated in the show title parenthetical. The label “(Recording)”

is present leading the show title (Figure 4.0).

Figure 4.0
For recording indicator leading show title
The click track information is also placed above the first measure (Figure 4.1).

Figure 4.1
Click track information
Like the underscoring treatment, lyric cues are not present in the for-recording pieces.

CHAPTER V
 Summary of Findings, Conclusion, and Recommendation

This chapter represents the summary of the findings, the conclusion, and the

recommendations based on the research.

Summary of Findings

1. How will the music be prepared?

a. How will the music be engraved?

In using programs such as Musescore or similar programs in line with this, every

instrument part is prepared digitally. As an example, the official guitar part for one of

the newly composed songs of the group called “Siklab” has been shown, along the

order of who are the composers, lyricists, title, orchestrator, and so on.

b. How will the music be published?

It can be done after its printing process. Having processed the scores and being

parted into its respectful instruments, these will be printed accordingly in 8in by 13in

pages.

2. How will the music be stored?

It is stored both physically and digitally as both methods ensure the safety and is a

decent utility to preserve the music. In physically storing the music, it is handled by the

librarian, the pieces and parts are stored in a clear book, folder, or other means to keep

the files intact and properly organized. In digitally storing the music, there is the group’s

Google Drive.

Conclusion
 As the research is purposefully meant on creating a system in much more reliably

documenting music, it sums up that the means to do so such as its process, inscription of

music, publishing, must be done thoroughly.

Recommendation

This research recommends the following:

Luwal Sining Pagganap. As they are the ones to take benefit in this research, it

is recommended that these processes of bookkeeping and documentation of music is

fairly recognized and can be executed. That learning about this may enable them to guide

and assist the generation that they leave behind to continue their legacy and traditions as

part of LSP. Also to the future members of the group, it is recommended that the use of

the pieces whether it is relevant to an upcoming performance of theirs, or whether it is

recreational, that these are used responsibly and respectfully.

Future Researchers. This research recommends the future researchers to use the

information for their own studies so that they can make their own research reliable.

APPENDIX
List of completed pieces:
1. Mitsa
2. Siklab
3. Trahedya
“ ‘Mitsa’ from ‘Si Pauline at Ang Kaniyang Pinakamagandang Dress’ “
“ ‘Siklab’ from ‘Si Pauline at Ang Kaniyang Pinakamagandang Dress’ “
“ ‘Ang Trahedya’ from ‘Si Pauline at Ang Kaniyang Pinakamagandang Dress’ “
 BIBLIOGRAPHY

Depersio (2021) retrieved from:

https://www.investopedia.com/articles/professionals/091715/career-advice-accounting-vs-

bookkeeping.asp

Flom (2016) retrieved from: https://flypaper.soundfly.com/write/music-engraver-take-

become-one/

Boelcke (2022) retrieved from:

https://www.practicaladultinsights.com/what-is-a-music-copyist.htm

Epstein (2012) retrieved from:

http://www.harmonypassion.com/blog/two-simple-methods-for-organizing-your-sheet-music