10

MUSIC
Quarter 3-Module 1:
CONTEMPORARY PHILIPPINE MUSIC

Music – Grade 10
Alternative Delivery Mode
Quarter 3 – Module 1: Contemporary Philippine Music
First Edition, 2020

Republic Act 8293, section 176 states that: No copyright shall subsist in any work
of the government of the Philippines. However, prior approval of the government
agency or office wherein the work is created shall be necessary for exploration of
such work for profit. Such agency or office may, among other things, impose as a
condition the payment of royalties.

Borrowed materials (i.e. songs, stories, poems, pictures, photos, brand

names, trademarks, etc. are owned by the respective copyright holders. Every
effort has been exerted to locate and seek permission to us these materials from
their respective copyright owners. The publisher and authors do not represent nor
claim ownership over them.

Published by Department of Education

Division of Lapu-Lapu City

Development Team of the Module

Writer’s Name: Joan Marie T. Rimas
Editor’s Name: Jacqueline B. Osawa
Reviewer’s Name: March C. Mandal
Illustrator’s Name: Celestino Aparece
Mar Onell Booc
Layout : Joan Marie T. Rimas
Management Team
Schools Division Superintendent : Wilfreda Bongalos , PhD, CESO V
Assistant Schools Division Superintendent : Cartesa M. Perico, Ed.D,
Curriculum Implementation Division Chief : Oliver Tuburan, Ed.D
EPS-MAPEH : March C. Mandal
EPS-LRMDS :
ADM Coordinator : Marigold Cardente/ Jennifer S. Mirasol

Printed in the Philippines by ________________________

Department of Education – Region VII
Division of Lapu-Lapu City
Address: B.M. Dimataga St., Poblacion, Lapu-Lapu City
Telephone Nos.: (032) 340-7887
Email Address: deped.lapulapu@deped.gov.ph
Website: http://depedlapulapu.net.ph
 10
Music
Quarter 3– Module 1:
Contemporary Philippine Music
Message of Introduction
This MAPEH 10 (Music, Arts, Physical Education and Health) learning module
is made to be a practical and significant instructional material to guide the learners
who are unable to attend classes in school in times of crisis or for other reasons. It
contains an attainable process of learning with the aim of maintaining the quality of
education that meets the K to 12 Curriculum standards. This also serves as a basic
guide to the facilitators containing the learning objectives or goals, pre-tests, review
exercises, short discussion of the lesson, examples, activities, and varied exercises
to assess the learners.
We would like to think with a positive spirit that this module will inspire and ignite the
interest of the learners and apply what they have learned as they go through the
whole package. This self-learning module is desired to be an important part of the
learning process and educational growth of the students.
We present to you the product of the teamwork of educators, writers, and
illustrators. Do bear in mind that the best instructional material is the one that works
for teachers and students! We look forward to hearing from you.

For the Facilitator/Parent

Your role as a teacher-facilitator is to orient the learners on how to use this

module, keep track of the learners’ progress as they manage their own learning and
be available to answer questions and provide explanations about the activities and
exercises in this module. The parents’ role is to help guide and monitor their child’s
performance in accomplishing the activities required for this module and to submit to
the teacher/school the required outputs.

For the Students

This module provides activities with actual exercises and activities for you to
perform. Do enjoy this wonderful opportunity given to you to continue the process of
learning despite the present situation. Accomplish all the activities required for this
module and submit to your teacher at the end of the week.

One of our main purposes is for you to learn from this module, but before you
begin please remember the following:

1. Take good care of this material, do not put any unnecessary marks/writings in any
part of the module.
2. Read carefully and follow instructions given before starting any activity.
3. Follow this module in sequential order, do not skip some parts.
4. You may request your parents or any adult members in your family for help but
bear in mind to always observe honesty and integrity while performing and
checking the assessments and exercises.
5. Use a separate answer sheet for the exercises, assessments and activities.
6. Return this module together with your answers and the expected outputs to your
teacher or facilitator.
 Please don’t hesitate to communicate with your teacher or facilitator for questions
and clarifications regarding this module.

Here are some symbols for the different parts in this module:

It contains learning objectives to be

developed in a material.

Introduction It introduces the topic/content of the

module briefly
This is given to check what the learner
Let’s Find What knows about the lesson to take.
You Know • This shall contain instruction in whether
to proceed or skip the module:
If you got 100% correct – you may skip
this module
If you got 99% or below correct – please
proceed with the module

Connects the current lesson with the

Review previous lesson by going over concepts
that were learned previously.

Let’s Learn and

Introduces the new lesson through a
Experience story, a poem, song, situation or an
activity.

Mini-Lesson
A brief discussion of the Lesson.

This contains the Enrichment Activity,

Guided/ Controlled Practice, Guided/
Let’s Think Deep Controlled Assessment, Independent
Practice, Independent Assessment

A question, fill in the blank

Let’s Remember sentence/paragraph to process what the
learner learned from the lesson.
 An activity that shall transfer the
skills/knowledge gained or learned into
Let Me Apply It real-life concerns/situations.

This evaluates the learner’s level of

mastery in achieving the learning
Let’s Check It objectives. The task given shall validate
the concepts and provide more
opportunities to deepen the learning.

An activity in any form that can increase

Let’s Ponder the strength of the response and tends to
induce repetitions of actions/learning.

At the end of the module, you will also see the following:

Glossary A definition of words found in or relating to

the lesson in this module

Answer Key Contains the answers to the activities

 Introduction

The modern Filipino repertoire consists of musical pieces that have been
written in the 20th century idioms that have evolved out of such stylistic movements
as impressionism, expressionism, neo-classicism, as well as avant garde and new
music.

In this module, you will know the Contemporary Philippine Music and its
Filipino composers using different musical styles on how their compositions adopted
ideas and elements from the 20th century musical styles and as well the latest trend
in the entertainment and musical industry.

We aim to unfold your mind, your eyes and touch your heart through our
journey to embrace the elegant music of the 20th century in Philippine setting. While
we aid you attain your target learning, we also want you to have fun in this trip.

Learning Competency:
Narrates the life of selected contemporary Filipino composer/s – MU10CM-lllc-g-3;
Analyzes the musical characteristics of traditional and contemporary Philippine
music – MU10CM-llla-h-2.

After going through this module, student/s will:

1. Describe the characteristics of musical styles and elements in Contemporary

Philippine Music.

2. Identify the Filipino composers in traditional and some new music style with their
musical works.
3. Follow and answer the learning engagement religiously.
4. Value the contribution of Filipino composers in the entertainment and musical
industry from traditional and up to the present time.
 Let’s Find What You Know

Read the questions carefully. Encircle the letter of the correct answer.

1. Who is the Filipino composer received the award-winning to his composition, “Kay
Ganda ng Ating Musika in 1978?
A. Francisco Buencamino Sr. C. Lucio San Pedro
B. Hilarion Rubio D. Ryan Cayabyab

2. She was the president and the musical director of the Bayanihan Dance
Company?
A. L. Kasilag C. J. Maceda
B. L. San Pedro D. R. Santos

3. What musical style that retained the Filipino spirit by incorporating traditional
music forms as well as indigenous rhythms and instruments to their compositions?
A. Chance Music C. Song Music
B. New Music D. Traditional Music

4. In 20th Century Traditional Composers, who do you think is the “Father of

Kundiman”?
A. Francisco Buencamino Sr. C. Rodulfo Cornejo
B. Francisco Santiago D. Rosendo Santos Jr.

5. Which of the following Filipino composers known as “Romantic Nationalist”?

A. Antonio Molina C. Lucio San Pedro
B. Felipe de Leon D. Ryan Cayabyab

6. Which musical style managed to retain some traditional elements in their

assimilation of Western techniques in Philippine music?
A. Chance Music C. Song Music
B. New Music D. Traditional Music

7. Who is the Filipino composer studied at Chicago Music College and was
influenced by the musical styles of Schoenberg and Stravinsky?
A. Alfredo Buenaventura C. Nicanor Abelardo
B. Antonio Molina D. Rodulfo Cornejo

8. Which of the following composers had done extensive research on the gamelan
music of Java and traditional music of the Ibaloi, Maranao and some tribes in the
Philippines?
A. Jose Maceda C. Manuel Maramba
B. Lucresia Kasilag D. Ramon Santos

9. Which of the following composers is NOT a member of the “Triumvirate of

 Filipino composers?
A. Antonio Molina C. Francisco Santiago
B. Francisco Buencamino Sr. D. Nicanor Abelardo

10. Which of these musical works composed by Antonio Molina?

A. Amihan, Hatinggabi C. Ibong Adarna, Song of the Miners
B. Bulaklaken, Halik D. Lahing Kayumanggi, Sa Ugoy ng Duyan

Lesson Contemporary Philippine

Music
1 (20th Century Traditional Composers &
New Music Composers)

Review
Last quarter in Music 10, you were able to explore internationally in the music
of Africa and Latin America, on how their music was been made and used in daily
lives. African music has been a collective result from the cultural and musical
diversity of the more than 50 countries of the continent whose vastness has enabled
it to incorporate its music with language, environment political developments,
immigrations, and cultural diversity. While Latin American music were influenced
with colonial history from Spain and Portugal and somewhat commonly populated by
five major ancestral groups.

Let’s Learn and Experience

Learning Engagement No. 1: FIXED ME!

Instructions: Based on your prior activity, Arrange the scramble letters related
to the characteristics of Philippine Contemporary music. Write your answers on
the blank provided below.

1. A M N N K U I D = ______________________
2. O F L K = ______________________
3. U L T C U E R S = ______________________
4. H T N I E C = ______________________
5. I I N N S O U G D E = ______________________
 6. D T R T A I I L O N A = ______________________
7. N H S I A C I P = ______________________
8. A Z R Z E U A S L = ______________________
9. E W N S C M I U = ______________________
10. L A A O T B I = ______________________

Mini-Lesson

20th Century Traditional Composers

With Spain and then America having colonized the Philippines from the
early 1500s to the late 1800s, it was unavoidable that Western compositional
techniques found their way into the works of Filipino composers. Yet, even 20 th
century Filipino composers have managed to retain some traditional elements in
their assimilation of Western techniques. In fact, they have become the strongest
foundations of what we now know as Philippine music.
FRANCISCO B. BUENCAMINO SR. (1883-1952)
He was born on November 5, 1883 in Bulacan. His father was Fortunato
Buencamino, a church organist and band master. His mother was Luisa Beltran, a
noted singer. He studied music composition and harmony at Liceo de Manila.
Unfortunately, he was not able to finish his studies.
He founded the Centro Escolar de Señoritas, a Conservatory of Music as well
as the Buencamino Music Academy in 1930. Many of his piano works have become
staples in the Philippine repertoire of today’s performers, especially Mayon,
Larawan, and Maligayang Bati. He also ventured into musical direction and scoring
for films, as well as composing several zarzuelas and kundiman.
FRANCISCO S. SANTIAGO (1889-1947)
He was born on January 29, 1889 in Sta. Maria Bulacan to a musically
inclined parents, Felipe Santiago and Maria Santiago. He is known as the “Father of
the Kundiman” and belongs to the “Triumvirate of Filipino Composers” along with
Nicanor Abelardo and Antonio Molina. His music was Romantic in style,
incorporating Western forms and techniques with folk materials. Among his famous
works are Pakiusap, Madaling Araw, and Kundiman (Anak Dalita). He became the
first Filipino Director of the Conservatory of Music, University of the Philippines.
NICANOR S. ABELARDO (1893-1934)
He was born in San Miguel de Mayumo, Bulacan on February 7, 1893. He is
one of the “Triumvirate of Filipino Composers” which includes Antonio Molina and
Francisco Santiago. He studied at the Chicago Music College and was influenced by
the musical styles of Schoenberg, Hindemith, and Stravinsky. He developed a style
that combined European romanticism with chromaticism. His compositions contain
hazy tones, dissonance, and unusual chordal combinations. His best-known
compositions include Mutya ng Pasig, Nasaan Ka Irog, Cavatina for Violincello, and
Magbalik Ka Hirang. The Tanghalang Nicanor Abelardo (Main Theater) of the
Cultural Center of the Philippines and the Abelardo Hall of the UP College of Music
are named after him.
ANTONIO J. MOLINA (1894-1980) National Artist for Music
He was born on December 26, 1894 in Quiapo, Manila. He is the first National
Artist for Music. He is considered one of the “Triumvirate of Filipino Composers”
which includes Nicanor Abelardo and Francisco Santiago. He was a product of both
the Romantic and Impressionist styles, and came to be known as the “Father of
Philippine Impressionist Music.” He was fascinated by the dynamics and harmonies
of Debussy, but retained much of the Romantic styles in his melody. A
characteristically impressionist work is his piano composition Malikmata
(Transfiguration).
FELIPE P. DE LEON SR. (1912-1992) National Artist for Music
He was born on May 1, 1912, in Peñaranda, Nueva Ecija. His parents were
Juan de Leon and Natalia Padilla. Felipe de Leon married pianist Illuminada
Mendoza with whom he had six children. His son Bayani is a well-known composer,
and another son Felipe Jr. is a writer and the present chairman of the National
Commission for Culture and the Arts (NCCA).
His known as a nationalist composer who expressed the Philippines’ cultural
identity through his compositions. He wrote piano compositions, hymns, marches, art
songs, chamber music, symphonic poems, overtures, band music, school songs,
orchestral works, operas, kundiman, and zarzuelas. His two operas, Noli Me
Tangere and El Filibusterismo, are considered his masterpieces.
LUCIO D. SAN PEDRO (1913-2002) National Artist for Music
He was born on February 11, 1913 in Angono, Rizal. He started composing
as early as his elementary days. He studied the banjo which inspired him to become
a serious musician. He later pursued his music degree at the University of the
Philippines and the Juilliard School in New York, USA. Upon returning to the
Philippines, he became a professor of theory and composition at UP College of
Music.
San Pedro is known as a “romantic nationalist”. He incorporated Philippine
folk elements in his compositions with Western forms to create highly tonal melody
and rich expressive harmonies. His chords have rich expressive tonality, as
represented in his well-loved Sa Ugoy ng Duyan, a lullaby melody sung by his
mother.
COLONEL ANTONINO R. BUENAVENTURA (1904-1996) National Artist for
Music
He was born on May 4, 1904 in Baliuag, Bulacan. He is a renowned
composer, conductor, and teacher. His father Lucio was a chief musician of the
Spanish artillery band in Intramuros and founder of Banda Buenaventura. As a boy,
the younger Buenaventura had already demonstrated a passion for music while
learning the rudiments of music and solfeggio and becoming a proficient clarinet
player.
He promoted Philippine music by extensively using folk materials in his works.
He recorded folk and dance music around the country with Ramon Tolentino and
National Artist for Dance Francisca Reyes Aquino. He restored the Philippine
Constabulary Band in 1945, which was considered “one of the best military bands in
the world”.
RAYMUNDO CIPRIANO “RYAN” P. CAYABYAB (born 1954)
He was born on May 4, 1954 in Manila. He obtained his Bachelor of Music
degree at UP College of Music and became a faculty member for Composition at the
same university. He is a popular contemporary composer who also has classical
compositions to his credit, such as Misa, Four Poems for Soprano and Piano, and
Te Deum. His compositional style makes much use of syncopation, extended
chords, and chromatic harmony. He spans both popular and classical worlds with his
pop music, ballads, operas, zarzuelas, orchestral arrangements, musicals, masses,
psalms, and choral compositions. His compositions are mostly of traditional Western
influence. Among his numerous compositions are the award-winning Kay Ganda ng
Ating Musika (1978), as well as the modern zarzuela Alikabok (2003), the opera
Spoliarium with libretto by Fides Cuyugan-Asensio, and a variety of choral pieces
and song cycles.

New Music Composers

These composers retained the Filipino spirit by incorporating traditional music
forms as well as indigenous rhythms and instruments in their compositions.

JOSE M. MACEDA (1917-2004) National Artist for Music

He was born in Manila on January 17, 1917. He started his music studies at
the Academy of Music in Manila. Later, he went to Paris to study with Alfred Cortot.
He eventually pursued advanced studies in the USA with E. Robert Schmitz and
earned a Doctorate Degree in Ethnomusicology from the University of California, Los
Angeles, USA.
His musical style was profoundly influenced when he encountered the music
of the indigenous tribe of Mindoro in 1953. He then embarked on his life’s work,
dedicated to the understanding and preservation of Filipino traditional music. His
extensive research and fieldwork resulted in an immense collection of recorded
music taken from the remote mountain villages and far-flung inland communities in
the Philippines. Although his compositional approach tended to be Western in style,
Maceda combined sounds of the environment with ethnic instruments. Among his
works are Ugma-Ugma (1963), Agungan (1975), Pagsamba (1968), Cassettes 100
(1971), and Ugnayan (1974)
LUCRESIA R. KASILAG (1918-2008) National Artist for Music
 She was born in San Fernando, La Union on August 31, 1918. She went to
Manila to pursue a degree in Music at the Philippine Women’s University. She
obtained her Masters degree from the Eastman School of Music in New York, USA,
where her music was influenced by her professors Irving McHose and Wayne
Barlow.
Kasilag’s compositions demonstrated a fusion of Eastern and Western styles
in using instruments, melody, harmony, and rhythm. She is particularly known for
incorporating indigenous Filipino instruments into orchestral productions. Among her
compositions are Toccata for Percussion and Winds (1959), The Legend of the
Sarimanok (1963), Divertissement and Concertante (1960), and Dularawan (1969).
JERRY A. DADAP (born 1935)
He was born on November 5, 1935 in Hinunganan, Southern Leyte. He
earned his Bachelors Degree in Music, major in Composition at the Conservatory of
Music, University of the Philippines in 1964. He is the first Filipino composer to
conduct his own works at the Carnegie Recital Hall in New York City. He started
composing when he was still studying at Silliman University in the southern city of
Dumaguete. Among his numerous compositions is the musical play Andres
Bonifacio, Ang Dakilang Anak Pawis (which will be discussed in Quarter 4).
FR. MANUEL P. MARAMBA, OSB (born 1936)
He was born on July 4, 1936 in Pangasinan. When he was 11 years old, he
gave his first public performance at the Bamboo Organ in Las Piñas. He became the
official accompanist of the Las Piñas Boys Choir at 14 years old. He was the
youngest finalist to participate in the National Music Competitions for Young Artists
(NAMCYA) piano competition in 1978. Immediately after high school, he was sent on
full scholarship to the University for Music and Performing Arts in Graz, Austria.
There, he earned with distinction the degree of Master of Arts in Church Music. He
also received a Teacher’s Certificate in Organ. His musical achievements also led
him to the United States, where he performed at Carnegie Hall at the age of 19.
He is one of the most accomplished musicians in the Philippines, is best
known as a liturgical composer whose body of works lean towards religious figures
and events. His versatility as a pianist, composer, arranger, theorist, and teacher is
widely recognized.

Learning Engagement No. 2: FOLLOW-UP…

Instructions: After reading the Answer the following questions below.

1. What are the characteristics of Philippine Contemporary Music?

2. How does Ryan Cayabyab became an award-winning composer?

3. Who is the “Father of Kundiman”?

4. Compare the Traditional Music to New Style Music.

5. What are the greatest contributions to these Philippine composers in the

entertainment and musical industry?

Let’s Think Deep

Learning Engagement No. 3: KNOW ME WELL..

Instructions: Describe the characteristics of the musical styles of the mentioned
Filipino composers.

Composers Musical Characteristics

1. Francisco Santiago

2. Lucio San Pedro

3. Lucresia R. Kasilag

4. Nicanor Abelardo

5. Fr. Manuel P. Maramba

Let’s Remember

Learning Engagement No. 4: POINT OF VIEW

Instructions: Write the complete statement that can describe about Contemporary
Music. Write your answers inside the shape given below.

Contemporary
Philippine
Music
 Traditional Composers New Music Composers

Characteristics

Composers

1. 1.
2. 2.
3. 3.
4. 4.
5.
6.

Let Me Apply It

Learning Engagement No. 5: NAME IT!

Instructions: Identify the following song titles as to the composer or lyricist who
wrote it.

Lucresia Kasilag Ryan Cayabyab Nicanor Abelardo

Antonio Molina Jerry Dadap Francisco Santiago
Francisco Buencamino Lucio San Pedro Jose Maceda
Manuel Maramba

____________________ 1. Anak Dalita

 ______________________ 2. Kay Ganda ng Ating Musika
______________________ 3. Ang Dakilang Anak Pawis
______________________ 4. Mutya ng Pasig
______________________ 5. Ugoy ng Duyan
______________________ 6. Pagsamba
______________________ 7. Malikmata
______________________ 8. The Legend of the Sarimanok
______________________ 9. Maligayang Bati
______________________ 10. Dularawan

Let’s Ponder

Learning Engagement No. 6: My Learning Insights!

Instruction: Write your learning by completing the unfinished statement on the frame
below.

1. The three most important things I learned from Philippine Contemporary

Music are,

a. __________________________________________
b. __________________________________________
c. __________________________________________

2. The things I want to learn more _______________________________

__________________________________________________________
__________________________________________________________
__________________________________________________________

3. I will apply this learning by __________________________________

_________________________________________________________
 _________________________________________________________
_________________________________________________________

Let’s Check It

Read the questions carefully. Encircle the letter of the correct answer.

1. Which musical style managed to retain some traditional elements in their

assimilation of Western techniques in Philippine music?
A. Chance Music C. Song Music
B. New Music D. Traditional Music
2. Which of the following composers is NOT a member of the “Triumvirate of
Filipino composers?
A. Antonio Molina C. Francisco Santiago
B. Francisco Buencamino Sr. D. Nicanor Abelardo
3. Which of the following Filipino composers known as “Romantic Nationalist”?
A. Antonio Molina C. Lucio San Pedro
B. Felipe de Leon D. Ryan Cayabyab
4. Who is the Filipino composer received the award-winning to his composition, “Kay
Ganda ng Ating Musika in 1978?
A. Francisco Buencamino Sr. C. Lucio San Pedro
B. Hilarion Rubio D. Ryan Cayabyab
5. What musical style that retained the Filipino spirit by incorporating traditional
music forms as well as indigenous rhythms and instruments to their compositions?
A. Chance Music C. Song Music
B. New Music D. Traditional Music
6. Which of these musical works composed by Antonio Molina?
A. Amihan, Hatinggabi C. Ibong Adarna, Song of the Miners
B. Bulaklaken, Halik D. Lahing Kayumanggi, Sa Ugoy ng Duyan
7. She was the president and the musical director of the Bayanihan Dance
Company?
A. L. Kasilag C. J. Maceda
B. L. San Pedro D. R. Santos
8. In 20th Century Traditional Composers, who do you think is the “Father of
Kundiman”?
A. Francisco Buencamino Sr. C. Rodulfo Cornejo
B. Francisco Santiago D. Rosendo Santos Jr.
9. Who is the Filipino composer studied at Chicago Music College and was
influenced by the musical styles of Schoenberg and Stravinsky?
A. Alfredo Buenaventura C. Nicanor Abelardo
B. Antonio Molina D. Rodulfo Cornejo
10. Which of the following composers had done extensive research on the gamelan
music of Java and traditional music of the Ibaloi, Maranao and some tribes in the
Philippines?
 A. Jose Maceda C. Manuel Maramba
B. Lucresia Kasilag D. Ramon Santos

Glossary

Melody Refers to the succession of notes played one after another

under the accompaniment of musical instruments.

Kundiman An art song that speaks about the love of a man for a woman.

Traditional music Music as a broad classification of music genres that contrasts

with classical music and popular music genres.

Balitao A Visayan folk song and dance where a man and woman
engage in a debate by means of a song.

New Music Music to come up with new trend of sounds, ideas and wider
range of manipulating musical elements.

Chamber Music is a form of classical music that is composed for a small group of
instruments—traditionally a group that could fit in a palace
chamber or a large roo