MUSIC Quarter IIIAs a UNESCO scholar, Santos was awarded the “Philippine Composer of the Century”after receiving the “Composer of the Year Award” in Manila in 1956 and 1957. He joinedthe faculty at Wilkes University, Pennsylvania in 1968. He performed as timpanist, pianist,and conductor with several orchestral groups. He conducted church choirs in Maryland,New Jersey, Lehman, Huntsville, and Shavertown United Methodist Churches inPennsylvania, USA. He composed the background music for J. Arthur Rank Films atPinewood Studios in London, England, where he worked with British composers MalcolmArnold and Muir Mathieson. Among Santos’ teachers were famous composers AaronCopland, Irving Fine, Humphrey Searle, and conductor Norman Del Mar.A prolific composer, he had composed several piano concerti, sonatas, symphonies,symphonic poems, five operas in Filipino, numerous band overtures, and more than 200marches. He had also written 50 masses in Latin and 20 in English. He has more than1,000 musical compositions in the library of the University of the Philippines. Santos’last musical work and only ballet composition, Melinda’s Masquerade, was performedin 1995, a year after his death. Santos passed away on November 4, 1994 in Swoyersville,Pennsylvania, USA.ALFREDO BUENAVENTURADEPED COPY(1929– )Dr. Alfredo Santos Buenaventura, composer, conductor andteacher, was born in Sta. Maria, Bulacan on October 14, 1929.He grew up in a musical environment and became a bandmember in his hometown at a young age. He was drawn byhis fascination with trumpets and trombones and became oneof its arrangers and conductors. He was one of twenty boysopranos of Tiples at Sto. Domingo Church from where hereceived his first significant musical training. At that time, healso wrote his first composition, Danza.A prolific composer, Buenaventura has composed over 50 major works including fivefull-length operas, operettas, dance dramas, cantatas, symphonies, concertos, ballets,overtures, prelude, fugues, and chamber music. His compositions and other creativeworks have transcended territorial, racial, and language barriers as these have beenperformed abroad by international virtuosi and religious groups. Many of his compositionsare based on Filipino heroes, legends, and epics. He uses native songs, both tribal andfolk, as themes of his music compositions. A number of his compositions are accompaniedby Filipino indigenous instruments.Some of his major works include the operas Maria Makiling (1961), Diego Silang(1966), Prinsesa Urduha (1969), cantatas Ang Ating Watawat (1965), Pasko ng Barangay(1964), three piano concertos subtitled Celebration, Determination, and Exultation, and100 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.
Contemporary Philippine Musicsymphonies such as Dakilang Lahi (1971), Gomburza (1981), and Rizal, the GreatMalayan Antagonist (1990). His minor works numbering more than 50 cover mostlyreligious songs and hymns for specific celebrations such as the Sixteenth Centenary ofSt. Augustine, Mass for the 400th Year of the Augustinian Recollect, and the PhilippineMusic Festival. His other creative musical works have been commissioned by the CulturalCenter of the Philippines, Metropolitan Theater, and the National Music Competitionsfor Young Artists (NAMCYA).Buenaventura’s compositional style rests mainly on his own set of musical ideas, whereinhe creates a combination of contemporary and conventional materials. He keeps hismelodies simple and understandable but with contemporary harmonies that enhance theircomplexity. He became an official organist of the Manila Cathedral in 1960. He becamethe Dean of the College of Music, Centro Escolar University. He is a member of theLeague of Filipino Composers. He received a number of awards in the music industry.He was twice an awardee of the Republic Cultural HeritageAward and the The OutstandingFilipino Award (TOFIL) for Music in 1995.CIPRIANO “RYAN” CAYABYABDEPED COPY(1954– )Ryan Cayabyab is a popular contemporary composer whoalso has classical compositions to his credit, such as Misa,Four Poems for Soprano and Piano, and Te Deum. Hiscompositional style makes much use of syncopation, extendedchords, and chromatic harmony. 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. He also produced a number of recordings,including the memorable album One, where he personally sang the unaccompanied songson different tracks to produce 16 voices.Cayabyab was born on May 4, 1954 in Manila. He obtained his Bachelor of Music degreeat the University of the Philippines’ College of Music. After which, he became a facultymember for Composition at the same University. He also served as the Executive andArtistic Director of the San Miguel Foundation for the Performing Arts, which oversawthe operations and programming of the San Miguel Philharmonic Orchestra and the SanMiguel Master Chorale. At present, he continues to be a much sought-after professor,musical director, composer, arranger, and conductor in the Philippine concert and recordingscenes. 101All 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.
MUSIC Quarter III SUMMARY With the European and American influences brought by our colonizers, it was inevitable that the musical styles of 20th century Western composers found their way into Philippine compositions. Francisco Buencamino founded the Centro Escolar de Señoritas, Conservatory of Music. He also created the Buencamino Music Academy in 1930. Nicanor Abelardo was one of his students. Expanding his career, Buencamino also ventured into musical direction and scoring, composing music for Sampaguita Pictures, LVN, and Excelsior. He also wrote several zarzuelas and kundiman. Francisco Santiago is known as the “Father of the Kundiman” and belongs to the “Triumvirate of Filipino Composers.” Nicanor Abelardo developed a style that combined European romanticism with chromaticism. He belongs to the “Triumvirate of Filipino Composers” together with Francisco Santiago and Antonio Molina. The Tanghalang Nicanor Abelardo (Main Theater) of the Cultural Center of the Philippines and the Abelardo Hall of the College of Music, University of the Philippines are named after him. Antonio Molina came to be known as the “Father of Philippine Impressionist Music,” while composer Lucio San Pedro integrated indigenous musical forms, conventions, and instruments in his works in the modern nationalistic style. Hilarion Rubio was a Filipino composer, music teacher, conductor, and clarinetist. HisDEPED COPYname was closelyidentified with his works for the orchestra, conductor for opera, ballet, dance recitals, and music for movies. Col. Antonino Buenaventura promoted Philippine music by extensively using folk materials in his works. He recorded folk and dance music around the country with Ramon Tolentino and National Artist for Dance Francisca Reyes Aquino. Buenaventura composed the music and did the notations for the folk dances as researched by Aquino. Rodolfo S. Cornejo was considered “the first Filipino composer who received an honory degree from a government recognized music school in the United States.” He was known for his “pianistic and compositional talent” by extemporizing a piano composition at the spur of the moment. Felipe P. de Leon wrote piano compositions, hymns, marches, art songs, chamber music, symphonic poems, overtures, band muic, school songs, orchestral works, operas, kundimans and zarsuelas. He was known as a nationalist composer who expressed the Philippines' cultural identity through his compositions. Lucio San Pedro is known as a “romantic nationalist.” He incorporated Philippine folk elements in his compositions with Western forms and harmony. His chords have a rich expressive tonality, as represented in his well-loved Sa Ugoy ng Duyan, a lullaby melody sung by his mother. Rosendo Santos Jr. is listed in the “New Groves Dictionary of Music and Musicians.” A prolific composer, his works include concerti, sonatas, symphonies, symphonic poems, five operas in Philippine dialect, numerous band overtures, 102 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.
Contemporary Philippine Musicand more than 200 marches. He wrote 50 masses in Latin and 20 in English. He has morethan 1,000 musical compositions in the library of the University of the Philippines.Alfredo Buenaventura is among the few composers in the Philippines who composedfive full-length operas. He has his own set of ideas about music and composition. Hecreated a combination of contemporary and conventional, kept his melodies simple andunderstandable, but he used contemporary harmonies to suit the intellectuals.Contemporary composer and conductor Ryan Cayabyab spans both popular and classicalworlds with his pop, ballads, operas, zarzuela, orchestral, and choral compositions.WHAT TO KNOW1. Discuss the lives and musical contributions of the following 20th century Filipinocomposers:a. Francisco Buencamino Sr. g. Rodolfo Cornejob. Francisco Santiago h. Felipe Padilla de Leon Sr.c. Nicanor Abelardo i. Lucio San Pedrod. Antonio Molina j. Rosendo Santos Jr.e. Hilarion Rubio k. Alfredo Buenaventuraf. Col. Antonino Buenaventura l. Ryan CayabyabDEPED COPY2. Point out the characteristics of the musical style of the above-mentioned Filipinocomposers.Composer Characteristics of the Musical Style________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________ 103All 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.
MUSIC Quarter IIIWHAT TO PROCESSA. Listening Activity1. Your teacher will play excerpts of recordings of any (one composition) of the following works by Filipino song composers:a. 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 Pilipinab. Lucio San Pedro - Sa Ugoy ng Duyan, Suite Pastorale, Lahing Kayumanggic. 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-kutitapd. Col. Antonino Buenaventura - Minuet, Mindanao Sketches, Divertimento forDEPED COPYe. Alfredo Piano and Orchestra, Variations and Fugue, and Greetings, Pandanggo sa Ilaw, Princesa ng Kumintang, Pandanggo ni Neneng Buenaventura - Maria Makiling (1961), Diego Silang(1966), Prinsesa Urduha (1969); Ang Ating Watawat (1965), Pasko ng Barangay (1964); Dakilang Lahi (1971), Gomburza (1981), and Rizal, the Great Malayan Antagonist (1990.f. Rodolfo Cornejo - A la Juventud Filipina, Bailes de Ayer, Caprice on a Folksong, Cello Sonata, Cello Sonata, Ibong Adarna, Kandingan, Malakas at Maganda Overture, Okaka, Oriental Fantasy, Ibong Adarna, Piano Concerto Nos. 1,2,3, Ruby, Song of the Miners,g. Hilarion Rubio - Bulaklaken, Dance of the Nymphs Rondo, Florente at Laura, Halik, Danza, Ang Konsyerto (ballet), Ang Magsasaka, Bukang Liwayway, Concertino in C (Marimba and piano), Filipinas Kong Mahal, Hatulan Mo Ako, Ginintuang Araw, In a Tropcal Sea, Filipino Youth, Nela, Light, Narra, Mutya ng Silangan104 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.
Contemporary Philippine Music h. Rosendo Santos Jr. Melinda’s Masquerade i. Nicanor Abelardo - Nasaan Ka Irog?, Bituing Marikit, Mutya ng Pasig, Paskong Anong Saya, Cavatina, Kundiman ng Luha, Magbalik Ka Hirang j. Francisco Santiago- Kundiman (Anak Dalita), Himutok, Pakiusap, Madaling Araw, Sakali Man, Pilipinas Kong Mahal, Ano Kaya ang Kapalaran? k. Felipe de Leon Sr. - Bulaklak Alitaptap, Bagong Lipunan, Payapang Daigdig, Pasko na Naman, Noche Buena, Kay Tamis ng Buhay, Sapagkat Mahal Kita l. 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, Pandanggo ni Neneng, Ang Bagong Balitaw, Himig ng Nayon, Damdamin (Romance), and Pizzicato Caprice. 2. Listen carefully to each excerpt and recognize the different musical stylesDEPED COPYofthecomposers. 3. Analyze the music. Take note of the elements of music present: rhythm, melody, tempo, dynamics, texture, harmony, form, and timbre. 4. Choose a composition that you like. Write a short reaction paper on it in relation to its musical elements. B. Evaluation of Listening Activity “Name the Composer, Title of the Music, Musical Style, and Description” 1. After the above ListeningActivity, your teacher will prepare selected excerpts of compositions by Lucio San Pedro, Antonino Buenaventura, Alfredo Buenaventura, Antonio Molina, Rodolfo Cornejo, Francisco Buencamino, Hilarion Rubio, Rosendo Santos Jr, Francisco Santiago, Nicanor Abelardo, Felipe Padilla de leon Sr., and Ryan Cyabyab. 2. The class will be divided into four teams, with each team forming a line. 3. As your teacher plays a few measures of the first excerpt, the first student in each line goes to the board and writes the name of the composer. The second student will write the title of the music. The third student will write the musical style. Then, the fourth student will write a description of the music in one phrase. 4. The team that writes the correct answers first, scores four (4) points. 105All 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.
MUSIC Quarter III 5. The same procedure goes on until all the students in the line have had their turn. 6. One student will be assigned as the scorer. The team with the highest score is the winner. In case of a tie, the first team to finish is the winner. 7. The scorer will announce the winners and then asks them this question: What was the most significant thing that you have learned from this activity? WHAT TO UNDERSTAND: SOLO, DUET, TRIO, QUARTET, QUINTET 1. Compose a simple song. Write the lyrics and the music. 2. You may adapt a certain melody from the compositions of the traditional composers that you like. Write the new lyrics to fit the music. 3. You may include an accompaniment such as guitar, flute, recorder, keyboard, drums, tambourine, maracas or improvise musical instruments from the environment. 4. You may sing it a capella (without accompaniment) or with accompaniment. Perform your composition or your song adaptation in class. 5. What motivated you to compose or adapt the music of that song?DEPED COPYWHATTOPERFORM A. Singing Activity Individual or in groups: Sing any of the compositions of Lucio San Pedro, Col. Antonino Buenaventura, Alfredo Buenaventura, Antonio Molina, Rodolfo Cornejo, Francisco Buencamino Sr., Hilarion Rubio, Rosendo Santos Jr., Nicanor Abelardo, Francisco Santiago, Felipe Padilla de Leon, and Ryan Cayabyab. If individual activity, choose one composition that you will perform. If group activity, do the following procedure: 1. Your teacher will divide the class into four groups. 2. Your group will choose any traditional composer. Research further on his compositions, if needed. 3. Select one composition that you like best or you are familiar with, or you may learn a new song. Choose your group’s musical director. 4. Sing the song in class with your groupmates interpreting the music with appropriate pitch, rhythm, style, timbre, dynamics, melody, texture, harmony, and expression. 5. You may add instrumental accompaniment like guitar, flute, recorder, maracas, tambourine, or keyboard. 106 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.
Contemporary Philippine Music6. You may bring a minus one music in CD, or from your mobile phone or on USB.7. You may improvise simple vocal or instrumental accompaniment/s to the songs you have chosen.8. You may explore ways of creating sounds as instrumental accompaniment to the song from a variety of sources or from the environment.9. Your teacher will choose the “Best Singing Group” based on musicianship (musical elements) 60%, presentation impact and showmanship 20%, ensemble coordination and organization 20%.10. All students will evaluate by rating each other’s performance and their own performance.Evaluation of Singing ActivityRating Scale: 5 - Very Good 2 - Poor 4 - Good 1 - Needs Follow up 3 - FairRating the other performers (if individual activity): 1. How well did the performers express the message of the songs?DEPED COPY2. How well did the performers pronounce __________the lyrics of the songs? __________3. How well did the performers sing based on musicalelements 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? 107All 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.
MUSIC Quarter IIIB. Creating and Performing Activities: Musical1. Your teacher will divide the class into four groups. Each group choose a traditional composer that was discussed in class. Research further on his life and works.2. Create a contemporary musical on the life of your chosen composer. Incorporate some of his compositions (melodic fragments) in the musical and story.3. Improvise simple vocal or instrumental accompaniments (example: guitar, keyboard, percussion) for the songs that you have chosen.4. Explore ways of creating sounds as accompaniment on a variety of sources or from the environment for the creation of the musical. 5. Perform the musical in class. Your teacher will choose the “Best Group Musical Performance” based on musicianship (musical elements) 50%, audience impact and showmanship 20%, ensemble coordination and organization 20%, stage discipline or deportment 10%.DEPED COPYEvaluation of Creating and Performing Activities: MusicalRating Scale: 5 - Very Good 2 - Poor 4 - Good 1 - Needs Follow up 3 - FairRating the other performers / groups:1. How well did the performers express the __________ message of the musical?2. How well did the performers act in the musicalbased 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 __________108 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.
Contemporary Philippine MusicRating your own group members:1. How well did your group members express themessage of the musical? __________2. How well did your group members perform? __________3. How well did your group members coordinate witheach other during the performance in the ensemble? __________4. How well did your group organize yourselves inthe 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 membersduring the performance in the ensemble? __________4. How well did I cooperate in the ensemble? __________DEPED COPY 109All 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.
MUSIC Quarter III NEW MUSIC COMPOSERSComposers of experimental New Music in the Philippines include Jose Maceda, Lucrecia Kasilag, Ramon Santos, Manuel Maramba, Jerry Dadap, Francisco Feliciano, Josefino “Chino” Toledo, and Jonas Baes. They retained the Filipino spirit by incorporating traditional music forms as well as indigenous rhythms and instruments in their compositions. JOSE MACEDA (1917 – 2004) National Artist for Music Jose Maceda 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 EthnomusicologyDEPED COPYfromUCLA. Maceda’s musical style changed when he encountered the music of the indigenous tribes of Mindoro in 1953. He then embarked on his life’s work, dedicated to the understanding and preservation of Filipino traditional music. His extensive research and fieldwork resulted in an immense collection of recorded music taken from the remote mountain villages and far-flung inland communities in the Philippines. Although his compositional approach tended to be Western in style, Maceda combined sounds of the environment with ethnic instruments. His compositions were usually for large groups of musicians. Among his works are Ugma-Ugma (1963), a work for voice and ethnic instruments; Agungan (1975), a piece for six gong families; Pagsamba (1968), a musical ritual for a circular auditorium using several ethnic percussion instruments; Cassettes 100 (1971), a composition for 100 cassette tape recorders; and Ugnayan (1974), an ethnic piece played at the same time over several radio stations. Considered as the first Filipino avant garde composer, he also worked at a recording studio in Paris in 1958 which specialized in musique concrète. During this period, he met Pierre Boulez, Karlheinz Stockhausen, and Iannis Xenakis, considered the musical giants of this musical genre.Maceda served as Professor of Piano and Musicology at the College of Music, University of the Philippines from 1952 to 1990. He was appointed Executive Director of its Center for Ethnomusicology in 1997. In the same year, he was conferred the honor of National Artist for Music. He passed away in Manila on May 5, 2004. 110 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.
Contemporary Philippine Music UDLOT-UDLOT (Excerpt) Jose MacedaDEPED COPYLUCRECIA R. KASILAG(1918 – 2008)National Artist for Music Lucrecia R. Kasilag 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 then obtained her Master’s degree from the Eastman School of Music in New York, USA. Her compositions were 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. 111All 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.
MUSIC Quarter III Among Kasilag’s many compositions are Toccata for Percussion and Winds (1959), composed for indigenous Muslim instruments and Western instruments; The Legend of the Sarimanok (1963), composed for chamber orchestra and Philippine ethnic instruments; Divertissement and Concertante (1960), compositions for piano and orchestra combining Western and Eastern forms, harmonies, and intervals; and Dularawan (1969), a musical drama combining a dance solo with a chorus and an ethnic orchestra. Her other works include compositions for piano, instrumental ensemble, and chorus. She was equally admired in the academe as a former Dean of the College of Music and Fine Arts, Philippine Women’s University. In the cultural field, she was the President of the Cultural Center of the Philippines. In the dance circles, she was the President and Music Director of the Bayanihan Dance Company. She also served as Chairman of the Asian Composers’ League and the League of Filipino Composers. She is credited for having written more than 200 musical works, ranging from folksongs to opera to orchestral works, which she continued to compose for the rest of her life. For all these outstanding achievements, she was conferred the title of National Artist for Music in 1989. She passed away in Manila in August 2008. DIVERTISSEMENT (Excerpt) Lucrecia R. KasilagDEPED COPYEdited 112 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.
Contemporary Philippine Music RAMON P. SANTOS (1941 – ) National Artist for Music Ramon P. Santos was born in Pasig on February 25, 1941. He completed his Bachelor of Music degree at the College of Music, University of the Philippines. He finished his Master of Music degree at Indiana University, USA. He received his Doctor of Philosophy degree in Composition at the State University of New York, USA. He had also pursued graduate studies in Ethnomusicology at the University of Illinois, USA. Santos’ compositional style features chromaticism, music seria, and electronic components, combined with indigenous Philippine music elements. His works include Ding Ding Nga Diyawa, Nabasag na Banga at Iba’t iba pang Pinag-ugpong-ugpong na Pananalita sa Wikang Pilipino para sa Labing Anim na Tinig, and L’BAD. He had done extensive research on the gamelan music of Java as well as the traditional music of the Ibaloi, Maranao, Mansaka, Bontoc, Yakan, and Boholano tribes in the Philippines. Santos held the position of Dean of the UP College of Music from 1978 to 1988. At present, he is the head of the UP Center of Ethnomusicology and was appointed ProfessorDEPED COPYEmeritus of the same institution. He was conferred the title of National Artist for Music in 2014. L’BAD Ramon P. Santos 113All 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.
MUSIC Quarter III FR. MANUEL MARAMBA, OSB (1936 – ) Fr. Manuel Perez Maramba, OSB is one of the most accomplished musicians and liturgists in the Philippines emerging during the second half of the 20th century. 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 career led him to the United States, where he performed at Carnegie Hall at the age of 19. After finishing his Bachelor of Music degree major in Piano at the Conservatory of Music, University of Sto. Tomas (UST), Fr. Maramba pursued his studies abroad where he received his Master of Music degree, Artist Diploma, Bachelor of Music degree inDEPED COPYComposition, and Teacher’s Certificate in Theory from the Peabody Conservatory of Johns Hopkins University, USA. He received a Master’s degree of Musical Arts in Performance from Yale University’s School of Music, USA. He also studied sacred music at the Kirchenmusikschule in Regensburg, Germany. He took further lessons in piano, organ, and the harpsichord at the Hochschule fur Musik in Vienna, Austria. Fr Maramba is a monk at Our Lady of Montserrat Abbey in Manila. He was the former director of the Paul VI Institute of Liturgy in Malaybalay, Bukidnon during which he composed the music for the papal mass. A prominent canon lawyer, he served on the National Appellate Matrimonial Tribunal. He was also a faculty member at the UST Conservatory of Music, St. Scholatica’s College, and Sta. Isabel College. He has composed operas like Aba!, Sto. Nino, La Naval, and Lord Takayama Ukon. His other major compositions are the music for Awakening which was commissioned by Ballet Philippines and music for Philippine Ballet Theater’s production of Seven Mansions; three masses – Papal Mass for World Youth Day, 1995; Mass in Honor of St. Lorenzo Ruiz, and the Mass in Honor of the Sto. Nino; three cantatas – St. Lorenzo Ruiz, St. Benedict, and St. Scholastica; Three Psalms; A hymn in honor of St. Lorenzo Ruiz, and the official hymn of the 1996 National Eucharistic Congress; a zarzuela entitled Ang Sarswela sa San Salvador, and three orchestral works – Pugad Lawin, The Virgin of Naval, and Transfiguration. 114 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.
Contemporary Philippine Music JERRY DADAP (1935 – ) Jerry Dadap, the first Filipino composer to conduct his own works at the Carnegie Recital Hall in New York City, was born on November 5, 1935 in Hinunangan, Southern Leyte. He earned his Bachelor’s Degree in Music, major in Composition at the Conservatory of Music, University of the Philippines (UP) in 1964. In 1968, he went to the USA on a study-observation grant from the Music Promotion Foundation of the Philippines. While there, he received a full scholarship grant from the United Presbyterian Church of USA from 1969 to 1971. During that time, he obtained his Postgraduate Diploma in Composition at the Mannes College of Music in New York, USA. Upon his return to the Philippines in 1971, he taught composition, ear training, and orchestration at the Sta. Isabel College of Music in Manila. Dadap started composing when he was still studying at Silliman University in the southern city of Dumaguete. Among his numerous compositions are The Passionate and the Wild (1960), Mangamuyo I (1976) and Mangamuyo II (1977), The Redemption (1974), Five Little Fingers (1975), Tubig ng Buhay (1986), Dakilang Pagpapatawad (1986), Andres Bonifacio, Ang Dakilang Anak Pawis, Ang Pag-ibig ng Diyos, Balitaw Nos. 1-7, Lam-DEPED COPYang Epic, Lorenzo Ruiz, Chorale Symphonic Ode Nos. 1 and 2, Aniway at Tomaneg, Song Cycle, Nos. 1-4, Choral Cycle Nos. 1-3, and Diyos Ama ay Purihin. His major works as composer-conductor were performed at the concert “LAHI” that featured works by local major composers.FRANCISCO F. FELICIANO(1942 – 2014)National Artist for Music Francisco F. Feliciano, avant garde composer and conductor for band and chorus, was born on February 19, 1942 in Morong, Rizal. His first exposure to music was with the Morriz Band, a brass ensemble established and owned by his father, Maximiano Feliciano. He started his music career in the high school band where he had played the cymbals and the clarinet. Feliciano obtained his Teacher’s Diploma in Composition and Conducting at the Conservatory of Music, University of the Philippines (UP) in 1964, and a Bachelor of Music degree 115All 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.
MUSIC Quarter III major in Composition in 1967. Subsequent degrees include a Master in Music Composition from the University of the Philippines, a Diploma in Music Composition from the Hochschule der Kunst in Berlin, Germany, and a Master of Musical Arts and Doctorate in Music Composition from Yale University School of Music, USA. He studied composition with Jacob Druckman, Isang Yun, H.W. Zimmerman and Krystof Penderecki. Feliciano became the choir conductor and instructor in music fundamentals at St. Andrews Seminary in Quezon City. He became an instructor at the UP Conservatory of Music and conducted the UP Symphony Orchestra. He was the musical director of the movie Ang Bukas ay Atin and provided orchestration for a number of musical productions including My Fair Lady and various Philippine productions. Feliciano composed more than 30 major works, including the musical dramas Sikhay sa Kabila ng Paalam, Ashen Wings, and the monumental three-act opera La Loba Negra (1984). He also wrote music for the orchestra such as Prelude and Toccata (1973), Fragments (1976), Life of Wartime Filipino Hero Jose Abad Santos, and the ballet Yerma (1982). Among his other large works are Transfiguration and Missa Mysterium for orchestra and large chorus. He has composed several prize winning works such as Pokpok Alimpako, (a favorite piece of choirs in international choral competitions), Salimbayan, Umiinog, and Walang Tinag (Perpetuum I mobile) which was premiered at the ISCM Festival in New York City, USA. His latest choral works, Pamugún and Restless, have been performed by Filipino choirs in various choral festivals in Europe. In 1977, he was given a John D.DEPED COPYRockefeller IIIAward in Music Composition. Feliciano composed hundreds of liturgical pieces, mass settings, hymns, and songs for worship. He founded the Asian Institute for Liturgy and Music (AILM) in Quezon City, a school for church musicians, and supervised the publication of a new Asian hymnal containing mostly works of Asian composers. He was conferred the title of National Artist for Music in 2014. He died on September 19, 2014. JOSEFINO TOLEDO (1959 – ) Josefino “Chino” Toledo is a recognized figure in the Asian contemporary art music scene. He received his Master of Music degree from the Cleveland Institute of Music, USA. Among his awards are the following: “Ten Outstanding Young Men” (TOYM); “International Award for the Arts”; “Civitella Ranieri Fellowship in Italy”; and the “ChancellorAwards for Outstanding Musical Works,” University of the Philippines. 116 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.
Contemporary Philippine Music Toledo served at the Pangkat Kawayan (a bamboo orchestra) from 1966 to 1979 and the Philippine Youth Orchestra (PYO) in 1977-1978. A principal percussionist of the Manila Symphony Orchestra in 1980-1983, he later became music director and principal conductor in 1985. He attended the 1984 International Computer Music Conference in France. He was the country’s representative to the 1980 Young Composers Conference in HongKong, the ASEAN Composers Forum on Traditional Music in 1989 (Philippines) and 1993 (Singapore), the 1995 ASEAN Composers Workshop (Indonesia), and the 1996 International Composers Workshop (Gaudeamus, Amsterdam). He was also a fellow at the 1990 Pacific Music Festival and Pacific Composers Conference (Japan). Toledo is a Music Professor at the College of Music, University of the Philippines (UP). He is the founding music director of the Metro Manila Community Orchestra, the UP Festival Orchestra, and the Crosswave Symphony Orchestra. He is noted for conducting the premiere performances of the works of Filipino composers as well as other Asian composers. His own music, including works for chorus, orchestra, chamber ensemble, solo instrument, and music theater have been performed by well-known international artists and ensembles. AUIT (Excerpt)DEPED COPYJosefino Toledo 117All 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.
MUSIC Quarter III JONAS BAES (1961 – ) Jonas Baes was born in Los Baños, Laguna in 1961. He enrolled at the College of Music, University of the Philippines (UP) in 1977 as a student of Ramon P. Santos.While at UP, he encountered the works of Jose Maceda and attended several seminar-workshops of visiting lecturers. He researched on the music of the Iraya-Mangyan people of Mindoro, which later became the inspiration for his compositions. From 1992- 1994, he studied with Mathias Spahlinger in Freiburg, Germany. Baes is known for writing music utilizing unorthodox musical instruments such as bean- pod rattles, leaves, iron-nail chimes, and various Asian instruments such as bamboo scrapers, bamboo flutes, and vocal music using Asian vocal techniques. His early works in the 1980s were influenced by Maceda in the use of large numbers of performers. In the 1990s, he experimented with various methods by which the audience became integral in the performance. It was also typical for social theory to influence the work of Baes who has made a mark on contemporary music and cultural politics in the AsianDEPED COPYregion. Some of Baes’ musical compositions include: Imagined Community, after Benedict Anderson for four bamboo scrapers, bamui trail caller, sarunai for oboe, khaen for mouth organ, and about a hundred iron nail chimes distributed among the audience; 1997/2001; WALA (Nothingness) for seven or hundreds of men’s voices 1997/2001; DALUY (Flow)interval music for five animator-percussionists and about a hundred bird whistles distributed among the audience, 1994; IBO-IBON (birdwoman) for dancer wearing small bells, two large wind chimes passed around the audience, four animator- callers, and iron nail chimes played by the audience (1996); SALAYSAY, for solo voice, three percussionists, and pairs of pebbles distributed among the audience; PATANGIS- BUWAYA (and the crocodile weeps) for four sub-contrabass recorders or any blown instruments 2003; PANTAWAG (music for calling people) for 15 bamboo scrapers, 15 palm leaves, and 20 muffled “forest” voices 1981; and BASBASAN (blessing) for 20 bean-pod rattles and 20 muffled men’s voices 1983. Baes received the Gawad Chancellor para sa Pinakamakusay na Mananaliksik (Hall of Fame, 2003) from the University of the Philippines. He is currently an Associate Professor in Composition and Theory at the UP College of Music as well as an ethnomusicologist, cultural activist, and writer. 118 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.
Contemporary Philippine Music SUMMARY Jose Maceda’s musical style shifted when he encountered the music of the indigenous tribes of Mindoro in 1953. He then embarked on his life’s work, dedicated to the understanding and preservation of Filipino traditional music. His extensive research and fieldwork resulted in an immense collection of recorded music taken from the remote mountain villages and far-flung inland communities in the Philippines. Lucrecia Kasilag’s compositional style 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. Ramon Santos’ compositional style features chromaticism, music seria, and electronic components, combined with indigenous Philippine music elements. Fr. Manuel Maramba OSB, one of the most accomplished musicians in the Philippines, is best known as a liturgical composer whose body of works lean towards religious figures and events. His versatility as a pianist, composer, arranger, theorist, and teacher is widely recognized in the local musical scene. Jerry Dadap, the first Filipino composer to conduct his own works at the Carnegie Recital Hall in New York City,DEPED COPYFrancisco Feliciano is one ofAsia’s leading figures in liturgical music, having composed hundreds of liturgical pieces, mass settings, hymns, and songs for worship. At the Asian Institute for Liturgy and Music, a school for church musicians which he founded, he supervised the publication of a new Asian hymnal containing mostly works of Asian composers. Josefino Toledo is the founding music director of the Metro Manila Community Orchestra, the UP Festival Orchestra, and the Crosswave Symphony Orchestra. He is noted for conducting the premiere performances of the works of Filipino composers as well as other Asian composers. His own music has been performed by well-known international artists and ensembles. Jonas Baes, Associate Professor in Composition and Theory, ethnomusicologist, cultural activist, and writer, has explored innovative territories and unusual musical treatments in his works. 119All 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.
MUSIC Quarter IIIWHAT TO KNOW1. Research and describe the characteristics of New Music.2. Discuss the lives and works of following 20th century Filipino composers and performers:a. Jose Maceda e. Jerry Dadapb. Lucrecia Kasilag f. Francisco Felicianoc. Ramon Santos g. Josefino Toledod. Fr. Manuel Maramba, OSB h. Jonas Baes3. Point out the characteristics of the musical style of the above-mentioned Filipino composers.Composer Characteristics of the Musical Style________________ _____________________________________________ ________________ _____________________________________________ ________________ _____________________________________________DEPED COPY________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________120 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.
Contemporary Philippine Music WHAT TO PROCESS A. Listening Activity 1. Your teacher will play excerpts of recordings of any (one composition) of the following works by Filipino new music composers: 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 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;DEPED COPYLa Loba Negra; Prelude and Toccata ; Fragments; Yerma; The life of wartime Filipino hero, Jose Abad Santos; Transfiguration; Missa Mysterium; Pokpok Alimpako; Salimbayan; Umiinog, Walang Tinag; Pamugún and Restless e. Jerry Dadap - The Passionate and the Wild; Mangamuyo I) and 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; Lam-ang Epic; Mangamuyo I and II; Five Little Fingers; Tubig ng Buhay; The Redemption. f. Fr. Manuel Maramba - Aba!, Sto. Nino; 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. Nino; 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; and Transfiguration. 121All 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.
MUSIC Quarter III g. Ramon Santos - Ding Ding ng a Di ya wa ; Nab as ag n a B an ga a t Ib a’t i ba p an g P in ag - ug po ng -u g po ng n a Pananalita sa Wikang Pilipino para sa labing anim na tinig, and L’BAD h. Jonas Baes - WALA (Nothingness); DALUY (flow); IBO- IBON (Birdwoman); SALAYSAY; PATANGIS-BUWAYA ; PANTAWAG ; BASBASAN (Blessing). 2. Listen carefully to each excerpt and be able to recognize the different musical elements and styles of the composers. 3. Analyze the music focusing on the elements of music present, such as rhythm, melody, tempo and dynamics, texture and harmony, form, and timbre. 4. Choose a composition that you like. Write a reaction paper on it B. Evaluation of Listening Activity “Name the Composer, Title of the Music, Musical Style, and Description” 1. After the above ListeningActivity, your teacher will prepare selected excerpts of compositions by the following: Josefino Toledo, Ramon Santos, JoseDEPED COPYMaceda, Fr. Manuel Maramba, Lucrecia Kasilag, Francisco Feliciano, Jerry Dadap, and Jonas Baes. 2. The class will be divided into four teams, with each team forming a line. 3. As your teacher plays a few measures of the first excerpt, the first student in each line goes to the board and writes the name of the composer. The second student will write the title of the music. The third student will write the musical style. Then, the fourth student will write a description of the music in one phrase. 4. The team that writes the correct answers first, scores four (4) points. 5. The same procedure goes on until all the students in the line have had their turn. 6. One student will be assigned as the scorer. The team with the highest score is the winner. In case of a tie, the first team to finish is the winner. 7. The scorer will announce the winners and then asks them this question: What was the most significant thing that you have learned from this activity? 122 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.
Contemporary Philippine Music WHAT TO UNDERSTAND: SOLO, DUET, TRIO, QUARTET, QUINTET 1. Your teacher will divide you into groups. 2. Compose a simple song incorporating indigenous music and folksongs or you may adapt a certain melody from the compositions of the New Music composers that you like. Write the new lyrics to fit the music. 3. You may include an accompaniment or improvised musical instruments. 4. Sing it a capella (without accompaniment) or with accompaniment. 5. Perform your composition or song adaptation in class. 6. Choreograph dance movements by interpreting the music of the new composer that you have chosen, if needed. 7. Perform in class. 8. Write a reaction papaer on “How did you feel in our incorporating our indigenous music to your compositions or song adaptations.” Submit it in class next meeting. WHAT TO PERFORM Creating and Performing Activities: Musical 1. Your teacher will divide the class into four groups. Each group choose a traditional composer that was discussed in class. Research further on hisDEPED COPYlifeandworks. 2. Create a contemporary musical on the life of your chosen composer. Incorporate some of his compositions (melodic fragments) in the musical and story. 3. Improvise simple vocal or instrumental accompaniments (example: guitar, keyboard, percussion) to the songs that you have chosen. 4. Explore ways of creating sounds as accompaniment on a variety of sources or from the environment for the creation of the musical. 5. Perform the musical in class. Your teacher will choose the “Best Group Musical Performance” based on musicianship (musical elements) 50%, audience impact and showmanship 20%, ensemble coordination and organization 20%, stage discipline or deportment 10%. 123All 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.
MUSIC Quarter IIIEvaluation of Creating and Performing Activities: MusicalRating Scale: 5 - Very Good 2 - Poor 4 - Good 1 - Needs Follow up 3 - FairRating the other performers / groups:1. How well did the performers express themessage of the musical? __________2. How well did the performers sing and act inthe musical based on the following:a. voice quality __________b. expression __________c. stage presence __________d. audience impact __________e. mastery of the musical __________f. pitch __________g. rhythm __________ h. style __________DEPEDi. acting COPY__________ Rating your own group members:1. How well did your group members express the __________ message of the musical? __________ __________2. How well did your group members perform?3. How well did your group members participate?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 performancein the ensemble? __________4. How well did I cooperate in the ensemble? __________124 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.
Contemporary Philippine Music SONG COMPOSERS The 20th century Filipino song composers/lyricists include Levi Celerio, Constancio de Guzman, Mike Velarde Jr., Ernani Cuenco, Restie Umali, George Canseco, Angel Peña, Leopoldo Silos Sr., Santiago Suarez. Together, they had produced a memorable output of traditional Filipino love songs, music for the movies, and materials for contemporary arrangements and concert repertoire. LEVI CELERIO (1910 – 2002) National Artist for Literature and Music Prolific lyricist and composer Levi Celerio was named National Artist for Music and Literature in 1997. Also a violinist, he had written the lyrics for over 4,000 songs in his lifetime, including many for film. A great number of kundimans and Filipino love songs have lyrics written byDEPED COPYhim, most notable of which are Dahil sa Iyo, Buhat, and Ang Pasko ay Sumapit. Celerio was known for creating music with a mouth-blown leaf Celerio was born in Tondo on April 30, 1910. He studied at the Academy of Music in Manila under a scholarship. Later, he went on to join the Manila Symphony Orchestra. Aside from writing his own lyrics, he also translated and re-wrote the lyrics of folksongs to traditional melodies like Maliwanag Na Buwan from Ilocos, Ako ay May Singsing from Pampanga, and Alibangbang from the Visayas. His achievements include a citation in the Guinness Book of World Records for being the only person to make music with a mouth-blown leaf. He will forever be remembered through his lyrics for songs such as Ang Pipit (music by Lucio D. San Pedro); Bagong Pagsilang (music by Felipe Padilla de Leon); Sa Ugoy ng Duyan (music by Lucio D. San Pedro); Misa de Gallo (music by J. Balita); Itik-itik (folk song); Tinikling (folk song), among others. Celerio passed away on April 2, 2002. 125All 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.
MUSIC Quarter III CONSTANCIO DE GUZMAN (1903 – 1982) Constancio Canseco de Guzman was born on November 11, 1903 in Guiguinto, Bulacan. He grew up in Manila where he studied piano and composition under Nicanor Abelardo. At the prodding of his father, he went to law school but switched to pursue and finish a BS Commerce degree at Jose Rizal College in 1928. He passed the certified public accountants (CPA) board examinations in 1932. After he took the CPA board exam, he started working for the movies. Acknowledged as the “Dean of Filipino Movie Composers and Musical Directors,” De Guzman became the music director of movie production companies like Sampaguita, LVN, Royal, Excelsior, Lea, and Tagalog Ilang-Ilang Productions. His “unexpected” hit music, Panaginip, paved the way for him to record hundreds of songs, principally under Villar and Columbia Records. In 1948, his song Ang Bayan Ko and Kung Kita’y Kapiling won the gold medal at the Paris International Fair. Bayan Ko was later adopted as the symbolic song of the People Power Movement of 1986. The same song won for him the Awit Award for Best Filipino Lyricist. Some of De Guzman’s notable compositions include Babalik Ka Rin, Ang TangiDEPED COPYKong Pag-ibig, Birheng Walang Dambana, Maalaala Mo Kaya, and Sa Piling Mo. De Guzman passed away on August 16, 1982. MIGUEL “MIKE” VELARDE JR. (1913 – 1986) Miguel “Mike” Guison Velarde Jr, composer, conductor, movie actor, and musical director was born in Manila on October 23, 1913 as the second of two children of Dr. Miguel Velarde, Sr. and Dolores Guison. His family moved to Zamboanga when he was only one year old and where he spent the succeeding eighteen years of his life. His exposure to the unaffected and unpretentious environment of Basilan and Zamboanga had influenced his creative imagination, mainly nurtured by his mother who became his first music teacher in piano and violin when he was six years old. Velarde studied at the Zamboanga Normal School, where he became a member of the school orchestra and graduated as valedictorian. He then went to Manila to pursue medicine at the University of the Philippines, but later realized that it was music that he truly loved. He learned the basics of harmony and composition from Antonio Molina and Ariston Avelino as he further deepened his musical knowledge through self-study. 126 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.
Contemporary Philippine Music Later, when his father however objected to his plans to pursue a music career, he went on to support himself as a bus conductor to realize his dream. He later got a job at a radio station where he was featured as singer and jazz composer in its morning and evening programs. He also opened a jazz school and became song editor for the Philippines Free Press. Velarde eventually went into writing Tagalog songs, composing the song Ugoy-Ugoy Blues which opened opportunities for him in the movies. He had a jazz band known as “Mike Velarde’s Jazztocrats.” He became editor of the Literary Song Movie Magazine. Velarde composed musical scores for Sampaguita Films’movie productions and managed its advertising department. Among his most important works were Luksang Tagumpay, which received the FAMAS (Filipino Movie Arts and Sciences) Award for Best Picture (1960) and for which he wrote its story and screenplay, and Alaala Kita for Best Director (1961). He attributes substantive influence from American composer and songwriters Irving Berlin and Cole Porter. In subsequent years, Velarde created his own style as he composed highly melodious and romantic songs such as Ikaw, Lahat ng Araw, Habang Buhay, Minamahal Kita , Ikaw ay Akin, and Dahil Sa Iyo. In 1970, he won the Best Conductor award at the First International Popular Song Contest in Japan with his composition As Long as Forever. He received the Cultural Achievement Award in Popular Music from the Philippine Government Cultural Association in 1975 and the Gawad CCP Para Sa Sining in 1986. His otherDEPED COPYcompositions include Buhat, Ikaw, Bituing Marikit, Minamahal Kita, Dating Sumpaan, Dalisay, Eternally Yours, and Gabi at Araw. Velarde passed away in 1986.SANTIAGO SUAREZ(1901 – 1964)Santiago Suarez was born in Sampaloc, Manila. He learned how to play the piano fromhis grandmother who was also a competent harpist, while his grandfather played theflute. He attended the Conservatory of Music, University of the Philippines and the Ateneode Manila in Intramuros. He took private music lessons from Caetano Jacobe, PedroFloriaga, and Nicanor Abelardo.Suarez’s compositions are a mixture of the soulful kundiman style and the lively strainsof the countryside. The melodies are tonal and catchy, while the rhythms follow theregular meter with minimal tempo changes. His harmonies follow the traditional classicalprogression, making his compositions easy to understand without the complexities ofform and structure. Some of his works are quite popular and heard even with today’sclassical singers, pop singers, and choral groups. They include the following: Ligaya Ko,Pandanggo ni Neneng, Dungawin mo Hirang, Bakya Mo Neneng, Caprichosa, Sa Libisng Nayon, Harana, Kataka-taka, Labandera Ko, Lakambini, Kamia, Ikaw ang Buhay 127All 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.
MUSIC Quarter III Ko!, Kay Lungkot nitong Hating-Gabi, and Mutya Niyaring Puso. Suarez passed away in 1964. RESTITUTO “RESTIE” UMALI (1916 – 1998) Restituto Aquino Umali was born in Paco, Manila on June 16, 1916. His early exposure to music was due to the influence of his father who taught him violin as well as his exposure to the regular family rondalla. He was also taught solfeggio and score reading at the Mapa High School where he became an active member of the school glee club and orchestra. Umali played the E-flat horn, trombone, and tuba when he was part of the UST (University of Santo Tomas) Band. He also taught choral arranging and orchestration at the UST Conservatory of Music. He majored in Composition and Conducting at the Conservatory of Music, University of the Philippines (UP) and Commerce at the Jose Rizal College. He even passed an electrician’s course at the Philippine School of Arts and Trades before embarking on a rewarding career as musical scorer for movies. During World War II, Umali took lessons in harmony from Felipe Padilla de Leon. Shortly after the war, he performed with the Manila Symphony Orchestra. He continued his studies in composition and conducting even while teaching at the UP Conservatory ofDEPED COPYMusic. He was under the tutelage of noted composers such as Lucrecia Kasilag,Antonio Buenaventura, and Ramon Tapales. Umali arranged the Philippine national anthem and the local classic Kataka-taka for the Boston Pops Orchestra when it performed for the Philippine Independence Night in Boston in 1972. He composed approximately 120 movie theme songs and more than 250 scores for movies. His musical scoring career was capped by a Universal Pictures’ production of No Man Is An Island starred by Jeffrey Hunter and Barbara Perez. His musical scores for the movies Sa Bawat Pintig ng Puso (1964), Pinagbuklod ng Langit (1969), Mga Anghel na Walang Langit (1970), and Ang Alamat (1972) won for him “Best Musical Score” honors at the Filipino Academy of Movies Arts and Sciences (FAMAS Awards). He also garnered the “Best Music Awards” for Bitter-Sweet at the 1969 Manila Film Festival and Ang Agila at Ang Araw at the 1973 Olongapo Film Festival. Among Umali’s most popular songs are Saan Ka Man Naroroon, Alaala ng Lumipas, Ang Pangarap Ko’y Ikaw, Sa Libis ng Barrio, Di Ka Nag-iisa, and Paano Kita Lilimutin. He had arranged the performance of Maestro Federico Elizalde’s Manila Little Symphony aired on radio stations DZRH and DZPI, apart from his stint as musical director fof Sampaguita Pictures. 128 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.
Contemporary Philippine Music BAYAN KO (Excerpt)Constancio de Guzman, music / Corazon de Jesus, lyrics DAHIL SA IYO (Excerpt) / Mike Velarde Jr., music / Dominador Santiago, lyricsDEPED COPY BAKYA MO NENENG (Excerpt) Santiago SuarezSAAN KA MAN NAROROON (Excerpt)Restie Umali, music / Levi Celerio, lyrics 129All 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.
MUSIC Quarter IIIANGEL PEÑA(1921 – 2014) A n g el M a t ia s P eñ a is a classical and jazz composer, arranger, and bass player. He is widely considered by modern Filipino jazz musicians as “one of the founders of traditional jazz in the Philippines.” He was born was born onApril 22, 1921 to a musical family. Peña learned solfeggio from his mother Rosario Velarde Matias. His mother was a schoolteacher who studied voice at the University of the Philippines. His father, Gregorio Cid Peña, played the violin. His grandfather was a respectedguitar player. He grew up in Malabon which was then famous for its musicians andmarching bands. At the age of 11 when his mother passed away, he was discouraged byhis father to continue his musical pursuits. But, the boy persisted and proceeded to studymusic theory and composition. Peña wrote his first original jazz composition just before World War II erupted. He also wrote kundimans for the young women he would be courting. After the war, he became one of the most sought-after musical arrangers in Manila. He had also switched from guitar to bass. This switch led him to write orchestral background music for variousDEPED COPYmusicalensembles. He also wrote musical scores for film companies, most notably LVN Pictures. As his interest in classical composition grew more intense, he formed a big band in 1956 for the Upsilon Sigma Phi’s traditional concert at the University of the Philippines. During that time, he composed Bagbagtulambing, a landmark in Philippine music.In 1959, the University of Santo Tomas launched a national symphonic compositioncontest open to Filipino composers. Peña’s entry Igorot Rhapsody won first prize thefollowing year. Since then, he moved effortlessly between the jazz and classical idioms.In the mid-1960s during his 3-year stint in Hongkong, he earned a Licentiate with theRoyal School of Music in London.Peña auditioned for the Honolulu Symphony Orchestra. He was immediately acceptedas bassist and later as arranger in 1969. He would spend the next 28 years in Hawaii,where he continued to write his own music. As farewell homage, the Manila SymphonyOrchestra performed his Concerto for Double Bass and Orchestra. In 1981 on the occasionof the 75th anniversary of Filipino presence in Hawaii, the Honolulu Symphony premieredhis Concerto for Jazz Quartet and Orchestra with an all-star Filipino jazz quartet.The following year, the Cultural Center of the Philippines performed a concert of hisclassical works in his honor. Despite of his absence from Manila, local jazz groups130 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.
Contemporary Philippine Musiccontinued to play his compositions. The seeds that he had sown began to bear fruit. Now,a new generation of Filipino musicians are starting to discover the composer. When hefinally came back to the Philippines, he started teaching scholars in Double Bass as anadjunct faculty member of the UP College of Music. He started collaborating with theUP Jazz Ensemble on a number of concerts.In 1998, a House Resolution from the State of Hawaii’s House of Representatives waspassed to honor Peña for his contributions in the field of music as a world renowned jazzmusician, musical arranger, and Hawaii’s own living classical composer. The Jazz Societyof the Philippines-USA further gave him a Lifetime Achievement Award at the ThirdAnnual Fil-Am Jazz Festival in Hollywood. Pena passed away on December 22, 2014. ERNANI CUENCO (1936 – 1988) National Artist for Music Ernani Joson Cuenco, composer, film scorer, musicalDEPED COPYdirector and music teacher, was conferred the NationalArtist Award for Music in 1999. His works embody a Filipino sense of musicality that contain the classical sound of the kundiman. Cuenco was born on May 10, 1936 in Malolos, Bulacan. As a boy, he was encouraged to learn the violin. He was mentored by his mother, his godmother Doña Belen Aldaba Bautista, and his first teacher, Jovita Tantoco. He earned his Bachelor’s Degree in Music, major in Piano at the UST Conservatory of Music in 1956. A UST scholarship grant in the same year enabled him to study the cello under Professor Modesto Marquiz, which he finished in 1965. In 1968, he completed his Master of Music degree at the Sta. Isabel College. From 1960 to 1968, Cuenco was a cellist at the Manila Symphony Orchestra under Dr. Hubert Zipper. Likewise, he played for the Filipino Youth Symphony Orchestra and the Manila Chamber Soloists from 1966 to 1970. His career as a musical director began in 1960 when he was discovered by then actor Joseph Estrada while he was playing as part of a band he had formed with friends at an exclusive restaurant in Makati. In 1963, Cuenco was sent as a delegate to the International Music Conference in Tokyo, Japan. Aside from being a composer and musical director, he was also a faculty member at the UST Conservatory of Music until his death on July 11, 1988. 131All 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.
MUSIC Quarter III To this day, Cuneco’s compositions are popular and well-loved, especially Gaano Ko Ikaw Kamahal and Bato sa Buhangin which he composed for films in honor of his wife. Aside from these signature pieces, Cuenco’s other songs include Nahan, Kahit na Magtiis, Diligin Mo ng Hamog ang Uhaw na Lupa, Pilipinas, Inang Bayan, Isang Dalangin, and Kalesa. GEORGE CANSECO (1934 – 2004) George Masangkay Canseco was born on April 23, 1934 in Naic, Cavite. He graduated with a Liberal Arts degree at the University of the East. After graduation, he worked for the Philippines Herald and the Associated Press as a journalist. He also worked as a “free-lance scriptwriter for hire” in Manila. Canseco was considered as “a nationally acclaimed composer of numerous popular classics.” He was commissioned by Former First Lady Imelda R. Marcos to compose a national tribute hymn entitled Ako Ay Pilipino (I Am A Filipino). He wrote the classic Kapantay Ay Langit, a theme from the award- winning motion picture of the same title, sung by Amapola. ItsDEPED COPYEnglish version entitled You’re All I Love containing some Tagalog lyrics was sung by American singer Vic Dana. The song won the Manila Film Festival “Best Song of the Year Award” in 1972. He followed it with an English song entitled Songs exclusively for Songs and Amapola under the Vicor Music Corporation Pioneer Label. One of his best-known compositions was Child, the English-language version of Freddie Aguilar’s signature song Anák. He wrote songs for the country’s top popular singers such as Sharon Cuneta, Basil Valdez, Regine Velasquez, Zsa Zsa Padilla, Pilita Corrales, Martin Nievera, and Kuh Ledesma. Canseco credited film producer and Vicor Music Corporation owner Vic del Rosario for giving him his biggest break in the music industry. He was elected President of the Filipino Society of Composers, Authors and Publishers, Inc. (FILSCAP) in 1973. He was also elected as Councilor for the First District of Quezon City in 1988. His legacy as a composer include approximately 120 song titles including Ikaw, Kailangan Kita, Dito Ba, Hiram, Tubig at Langis, Hanggang sa Dulo ng Walang Hanggan, Sinasamba Kita, Kastilyong Buhangin, Minsan Pa Nating Hagkan ang Nakaraan, Ngayon at Kailanman, Saan Darating ang Umaga, Sana Bukas Pa ang Kahapon, Dear Heart, Gaano Kadalas ang Minsan, Paano kita Mapapasalamatan, and Kahapon Lamang. He passed away on November 19, 2004 in Manila. 132 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.
Contemporary Philippine Music GAANO KO IKAW KAMAHAL (Excerpt) Ernani Cuenco, music / Levi Celerio, lyrics DAHIL SA ISANG BULAKLAK (Excerpt) Leopoldo Silos Sr., music / Levi Celerio, lyricsDEPED COPY 133All 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.
MUSIC Quarter III LEOPOLDO SILOS Sr. (1925 – 2015) Leopoldo Silos Sr. was born on March 6, 1925. He was a composer, singer, and arranger. He composed and recorded a number of romantic songs, the most famous of which were two of his well known hits, Dahil Sa Isang Bulaklak (Because Of One Flower) and Hindi Kita Malimot (I Can’t Forget You). He was also the award-winning musical director of the long- running television musical program, Aawitan Kita, which starred Armida Siguion-Reyna. Accordingly, the music of Silos touches the sentiment quite deeply. His lyrical melodies are complemented by exotic harmonies. His melodies were made more appealing through their extended chords, diminished intervals, and secondary dominants. Thus, that enriched the otherwise basic chordal patterns accompanying a tonal melody. Although not as widely performed as other mainstream love songs and kundimans, his music always impresses the listener with its melodic sincerity and elegantly crafted accompaniments. The other notable compositions of Silos include Aling Kutsero, Ay Anong Saklap, Basta’t Mahal Kita, Diyos Lamang ang Nakakaalam, Hindi Ko Malilimutan, Lagi kitang Naaalala,DEPED COPYLangit sa Lupa, Halina Halina, Lihim na Pag-ibig, and Mundo Ma’y Mawala. He died on March 10, 2015. SUMMARY Song composers became popular with their musical compositions used as musical background or theme songs in movies and films. Levi Celerio made it to the Guinness Book of World Records for being the only person to make music with a leaf. He received numerous awards for his musical achievements in film. Constancio de Guzman was acknowledged as the “Dean of Filipino movie composers and musical directors.” He is the composer of the nationalistic song Bayan Ko. Mike Velarde Jr. was a composer, conductor, and musical director. He composed the popular song Dahil Sa Iyo in 1938. In 1975 the Philippine Government Cultural Association awarded him the Cultural Achievement Award in Popular Music. He received the Gawad CCP Para Sa Sining in 1986. 134 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.
Contemporary Philippine Music Ernani Cuenco was a composer, film scorer, musical director, and music teacher. He was hailed as a National Artist in Music in 1999. His works embody the Filipino sense of musicality. The classical sound of the kundiman is evident in some of his ballads. Up to this day, his compositions are popular and well-loved. Restie Umali was a composer, teacher, and musical arranger. He arranged the Philippine national anthem and the local classic Kataka-taka for the Boston Pops Orchestra when it performed for the Philippine Independence Night in Boston in 1972. He wrote a total of more or less120 movie theme songs. He composed more than 250 scores for movies which was capped by a Universal Pictures production of No Man Is An Island starred by Jeffrey Hunter and Barbara Perez. George Canseco was considered “a nationally acclaimed composer of numerous popular Filipino classics.” He composed songs for Filipino singers and movie stars. Angel Peña is a classical and jazz composer, musical arranger, and bass player. He is widely considered by modern Filipino jazz musicians as “one of the founders of traditional jazz in the Philippines.” Leopoldo Silos Sr. was a composer, singer, and musical arranger. He composed and recorded romantically soulful songs. He was the award winning musical director of the television musical Aawitan Kita.DEPED COPYSantiago Suarez was an accomplished composer of traditional Filipino love songs. His popular works include Dungawin Mo Hirang, Bakya Mo Neneng, Caprichosa, Sa Libis ng Nayon, and Kataka-taka. WHAT TO KNOW1. Discuss the lives and musical contributions of the following 20th century Filipino song composersa. Levi Celerio f. George Cansecob. Constancio de Guzman g. Angel Peñac. Mike Velarde Jr. h. Leopoldo Silos Sr.d. Ernani Cuenco i. Santiago Suareze. Restie Umali2. For each of the composers named above, give the title of any of his compositions. 135All 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.
MUSIC Quarter IIIComposer Title of Any Composition________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________ ________________ _____________________________________________DEPED COPYWHATTOPROCESS A. Listening Activity1. Your teacher will 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); and Ang Pasko ay Sumapit.b. Constancio - Bayan Ko, Babalik Ka Rin, Ang Tangi Kong Pag- de Guzman ibig, Birheng Walang Dambana, Maalaala Mo Kaya, Sa Piling Mo, Ang Langit ko’y Ikawc. Mike Velarde Jr. - Buhat, Ikaw, Bituing Marikit, Minamahal Kita, Dating Sumpaan, Dalisay, Eternally Yours, Gabi at Araw, Dahil sa Iyo136 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.
Contemporary Philippine Musicd. 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 Buhangine. Restie Umali - Saan Ka Man Naroroon, Alaala ng Lumipas, Ang Pangarap Ko’y Ikaw, Sa Libis ng Barrio, Di Ka Nag-iisa, Paano Kita Lilimutinf. 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 MinsanDEPED COPYg. AngelPeña - Bagbagtulambing, Igorot Rhapsody, Concerto for Double Bass and Orchestra, Concerto for Jazz Quartet and Orchestrah. 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 Mawalai. 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 Puso2. Listen carefully to each excerpt and be able to recognize the different musical styles of the composers. 137All 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.
MUSIC Quarter III 3. Analyze the music and take note of the elements of music present, such as rhythm, melody, tempo and dynamics, texture and harmony, form, and timbre. 4. Choose a composition that you like. Write a reaction paper on it. B. Evaluation of Listening Activity “Name the Composer, Title of the Music, Musical Style, and Description” 1. After the above ListeningActivity, your teacher will prepare selected excerpts of compositions by the following: Celerio, De Guzman, Velarde, Cuenco, Umali, Canseco, Peña, Silos, and Suarez. 2. The class will be divided into four teams, with each team forming a line. 3. As your teacher plays a few measures of the first excerpt, the first student in each line goes to the board and writes the name of the composer. The second student will write the title of the music. The third student will write the musical style. Then, the fourth student will write a description of the music in one phrase. 4. The team that writes the correct answers first, scores four (4) points. 5. The same procedure goes on until all the students in the line have had their turn. 6. One student will be assigned as the scorer. The team with the highest scoreDEPED COPYis the winner. In case of a tie, the first team to finish is the winner. 7. The scorer will announce the winners and then asks them this question: What was the most significant thing that you have learned from this activity? WHAT TO UNDERSTAND: SOLO, DUET, TRIO, QUARTET, QUINTET 1. Compose a simple song. Write the lyrics and the music. 2. You may adapt a certain melody from the compositions of the song composers that you like. Write the new lyrics to fit the music. 3. You may include an accompaniment such as guitar, flute, recorder, keyboard, drums, tambourine, maracas or improvise musical instruments from the environment. 4. You may sing it a capella (without accompaniment) or with accompaniment. 5. Do some dance movements of the music. 6. Perform your composition or your song adaptation and the dance movements. 7. What motivated you to compose or adapt the music of that song? 8.. How did you feel about this activity? 138 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.
Contemporary Philippine MusicWHAT TO PERFORMA. Singing Activity: Song MedleyIn d iv id u a lo r in g r o u p s: Sing any of the compositions of Celerio, De Guzman,Velarde, Cuenco, Umali, Canseco, Peña, Silos, and Suarez.For group work, do the following: 1. Your group will choose any song composers. You research further on his compositions, if needed. 2. Select three compositions that you like best or you are familiar with or you may learn a new song. Choose your musical director. 3. Sing the three (3) minutes medley in class with your groupmates interpreting the music with appropriate pitch, rhythm, style, timbre, dynamics, melody, texture, harmony, and expression. 4. You may bring an instrumental accompaniment like guitar, flute, recorder, maracas, tambourine, or keyboard. 5. You may bring a minus one music in CD, or from your mobile phone, or USB. 6. You may improvise simple vocal or instrumental accompaniment/s to the songs you have chosen. 7. You may explore ways of creating sounds as instrumental accompanimentDEPED COPYto the song from a variety of sources or from the environment. 8. Your teacher will choose the “Best Singing Group” based on musicianship (musical elements) 60%, presentation impact and showmanship 20%, ensemble coordination and organization 20%. 9. All students will evaluate by rating each other’s performance and their own performance.B. Creating and Performing Activities: Musical1. Your teacher will divide the class into four groups. Each group choose a song composer that was discussed in class. Research further on his life and works.2. Create a contemporary musical on the life of your chosen composer. Incorporate some of his compositions (melodic fragments) in the musical and story.3. Improvise simple vocal or instrumental accompaniments (example: guitar, keyboard, percussion) to the songs that you have chosen.4. Explore ways of creating sounds as accompaniment on a variety of sources or from the environment for the creation of the musical. 139All 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.
MUSIC Quarter III5. Perform the musical in class. Your teacher will choose the “Best Group Musical Performance” based on musicianship (musical elements) 50%, audience impact and showmanship 20%, ensemble coordination and organization 20%, stage discipline or deportment 10%.Evaluation of Creating and Performing Activities: MusicalRating Scale: 5 - Very Good 2 - Poor 4 - Good 1 - Needs Follow up 3 - FairRating the other performers / groups:1. How well did the performers express the __________ message of the musical?2. How well did the performers sing and act in the musicalbased on the following:a. voice quality __________b. expression __________DEPED COPYg. musical elements (rhythm, melody, dynamics) __________c. stage presence __________d. audience impact __________e. mastery of the musical __________h. technique __________i. showmanship __________j. acting __________Rating your own group members: __________1. How well did your group members express the __________ message of the musical? __________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?140 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.
20th and 21st Century Multimedia Forms Quarter IV: 20th AND 21st CENTURY MULTIMEDIA FORMS CONTENT STANDARDS The learner demonstrates understanding of... 1. Characteristic features of 20th and 21st century opera, musical play, ballet, and other multi-media forms. 2. The relationship among music, technology, and media. PERFORMANCE STANDARDS The learner... 1. Performs selections from musical plays, ballet, and opera in a satisfactory level of performance. 2. Creates a musical work, using media and technology.DEPED COPYLEARNINGCOMPETENCIES 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 costumes 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. From the Department of Education curriculum for MUSIC Grade 10 (2014) 141All 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.
MUSIC Quarter IV OPERA IN THE PHILIPPINESThe emergence of the Filipino opera started to take shape during the middle part of the 19th century. Foreign performers, including instrumental virtuosi, as well as opera singers and Spanish zarzuela performers came to the country to perform for enthusiastic audiences. The opera is an art and music form in which singers and musicians perform a dramatic work combining text (called alibretto) and a musical score, usually in an elaborate theatrical setting. It incorporates many of the elements of spoken theater, such as acting, scenery, costumes, and sometimes includes dance. The performance is typically given in an opera house, cultural center, theater, or auditorium. It is accompanied by an orchestra or smaller musical ensemble. The dialogue is entirely sung 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. While English, French, and Italian operas were being presented, it was the Italian opera that capturedDEPED COPYthe creative imagination of composers, librettists, and singers alike. Zorilla Theatre 142 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.
20th and 21st Century Multimedia Forms Manila Grand Opera House As the locals were being exposed to Western art and music, they were also realizing their inner talents and passion for the opera. The themes were ripe for voicing their own sentiments about love of country and longing for independence from colonial rule.DEPED COPYThe element of tragedy, emanating from the popular themes of romance, deceit, murder, vendetta, and other elements of human frailty, became a favorite story pattern of the Filipino opera. Some operatic works were based on previous literary creations, such as Rizal’s Noli Me Tangere and El Filibusterismo. The tragic endings and unresolved conflicts made them excellent choices for an operatic production. Local Theaters and Early Philippine Operas Local theaters, including the Zorilla, Principe Alfonso, Variedades, Quiapo and Tondo Theaters, were the choice venues for the mainly Italian operas that came to the country, such as Lucia di Lammermoor, La Boheme, La Traviata, and Aida. Later, other opera venues were established, led by the Manila Grand Opera House and the Metropolitan Theater (Met). The first Filipino opera is said to be to Sandugong Panaginip by Pedro Paterno, a poet, novelist, musician, and government official. This was first presented at the Zorilla Theater on August 2, 1902. It was later translated by the Englishman M.W. Loving with the title The Dreamed Alliance. 143All 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.
MUSIC Quarter IV Following this historic development, other prominent figures and ensembles contributed significantly in the promotion of opera. They were composer Bonifacio Abdon as the first Filipino opera conductor, Dr. Ramon Javier as the first Filipino opera impresario who promoted local talents to participate in foreign productions. The Orchestra Molina was known for their interpretation of operatic works as well as other classical compositions.DEPED COPY Metropolitan Theater (Met) Subsequent Filipino operas followed sporadically, such as Lakangbini by Patricio Mariano that was staged at the Metropolitan Theater on December 19, 1933. Operatic divas included Nelia Manalo, who portrayed the leading role of Violetta in Giuseppe Verdi’s La Traviata. Mercedes Matias-Santiago portrayed the role as Lucia in Gaetano Donizetti’s Lucia di Lamermoor. National Artist Jovita Fuentes portrayed the role as Mimi in Giacomo Puccini’s La Boheme. The establishment of the Cultural Center of the Philippines (CCP) by then First Lady Imelda Romualdez-Marcos in 1969 paved the way for other Filipino operas to be staged at a legitimate venue of international standard. NOLI ME TANGERE and EL FILIBUSTERISMO Operas based on Rizal’s two novels Noli Me Tangere and El Filibusterismo were composed by National Artist Felipe Padilla de Leon. These were presented at the CCP Main Theater in 1970 and 1975, respectively. Noli Me Tangere and El Filibusterismo were later restaged also at CCP as musical plays with new music composed by Ryan Cayabyab and new creative team. 144 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.
20th and 21st Century Multimedia Forms Cultural Center of the Philippines LA LOBA NEGRA La Loba Negra (The Black She-Wolf) is a three-act Filipino opera. Acts I and II are based on history. Act III is based on a legend attributed to Fr. Jose Burgos. He was oneDEPED COPYof the three martyred priests, Gomez, Burgos, and Zamora who were executed in Bagumbayan (now Luneta) in 1872. The music was composed by National Artist Francisco Feliciano, with libretto by soprano Fides Cuyugan Asensio. The premiere was held in 1984 with Lamberto Avellana as director. In 1985 direction was by Peque Gallaga and Jorge V. Ledesma, production design by Don Escudero, costume design by National Artist Salvador Bernal, lighting design by Dennis Marasigan, and choreography by Rene C. Hinojales.La Loba Negra was presented by the Cultural Center of the Philippines in cooperationwith the Asian Institute for Liturgy and Music at the CCP Main Theater from August 16to 25, 1984 and the 2nd season in 1985. Ms. Asensio alternated withEleanor Calbes as Dona Luisa/La Loba. Jimmy Melendrez alternatedwith Noel Velasco as Governor-General Fernando ManuelBustamante. Secondary roles were performed by Nomer Son asTorralba, Gamaliel Viray/Nolyn Cabahug as Fr. Sebastian Totanes,Aileen Espinosa Cura as Florentina Dolores, and Lito Carating/ElmoMakil as Kapitan Macatangay. The composer himself conducted thePhilippine Philharmonic Orchestra. Choral support was from thePhilippine Madrigal Singers, Singers Harmonics, Tiples de SantoDomingo, Pasyon Singers of Cardona, and the Zarzuela Foundation Librettist and soprano,Chorus. Fides Cuyugan Asensio 145All 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.
MUSIC Quarter IV Background of the Opera The story of La Loba Negra takes place during the 17th century of Spanish rule in the Philippines. It revolves around the tragic assassination of Spanish Governor-General Bustamante. His administration was greatly admired for his planned reforms in the colonial administration. It also focused on the bitter reaction and planned vendetta (revenge) by his wife Doña Luisa (La Loba Negra) on the religious perpetrators. As massive corruption and friar abuse were prevalent, the entry of Governor-General Bustamante to institute reforms did not sit well with the powerfully abusive priests, which led to his untimely death. Synopsis The opera begins with a Prologue depicting the scene of a woman dancing around a priest tied to a log. She scolds him in a haunting atmosphere of pitch darkness and a howling wolf from the distance. The scene shifts to the Governor’s Palace Ballroom where a welcome party in honor of the new Governor-General Bustamante is in progress. Upon the arrival of the Governor, lavish gifts are offered to him by the various guests. To their surprise and dismay, the Governor downplays their ostentatious revelry and gift- giving as a sign of potential corruption in his song Makinig Kayo.The entry of Fray (friar/priest) Totanes and his regal posturing further elicits sarcastic remarks from the Governor. As he and his wife Doña Luisa exits the scene, an indio (Spanish term used forDEPED COPYa Filipino native) servant named Macatangay enters with a message to the Governor from his employer, Auditor General Torralba. Fray Totanes takes advantage of the Governor’s exit by asserting the power of the church over the state in his song Siya Ba ang Magsasabi Sa Akin? prompting the Governor’s daughter Dolores to chide him for his unbecoming remarks in her father’s house. Fray Totanes apologizes without a trace of sincerity as Dolores exits followed by an “interested” young friar. Meanwhile, Fray Totanes intercepts the gifts meant for the Governor . He got the gifts to add to the Church’s treasury. He blesses the guests as he reassures them of a place in heaven. In the Palace’s family room, Doña Luisa is singing an aria Huizilipochtli about an Aztec god which her daughter Dolores was curiously questioning about its meaning. Their conversation is interrupted by the Governor who was on his way out to investigate the Auditor General’s office on the state of the Treasury. Dolores, suspecting the impending result of the investigation amid the pocketing by the friars, weeps bitterly as her mother tries to comfort her. At the Auditor General’s office, Fray Totanes witnesses Torralba collecting taxes from the various merchants in order to get their trade permits. He then shares the “loot” with Fray Totanes who in turn gives part of his share to his mistress Conchita. The Governor enters shortly, and after a brief confrontation with Torralba, discovers that the Treasury coffers are empty. 146 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.
20th and 21st Century Multimedia Forms He orders the latter’s immediate imprisonment in Fort Santiago, a most dreaded place for criminals and political prisoners at that time. The scene ends with a duet Anong Saklap Nitong Pangyayari by the two, with Torralba in remorse and shame and Bustamante in pity and disgust over the situation. The chorus sings Sa Haring Pari, O Sa Paring Hari in the distance. The continuing crackdown of Governor Bustamante on the religious officials did not spare even the Archbishop of Manila as they were all detained in Fort Santiago. Areligiously-led demonstration ensues in the Town Plaza but is quickly dispelled by the Governor’s soldiers. The priests are exhorted by Fray (friar/priest) Totanes to come out in full-force to plot the assassination of their most hated enemy. A mass is held without the usual service as the altar is covered black to symbolize a coffin, topped by the Spanish flag and a crucifix. As they march toward the Governor’s palace, singing Muerte, Muerte Para El Traidor Bustamante,a messenger forewarns the Governor of the plot. But to no avail, the assassins are able to reach the palace and kill the Governor along with his son Jose. Doña Luisa, witnessing this brutal killing, asks the Lord and the Virgin Mary to forgive the perpetrators. However, her mind snaps at the shock of the moment, wherein she instead invokes the Aztec god to assist her in avenging the murders of her loved ones. With a loud scream filled with pain and anguish, she has renounced her Christian faith. Doña Luisa, now disguised as La Loba Negra (The Black She-Wolf), commences her revenge during the elaborate ceremonies of Palm Sunday. And together with her sexually- abused daughter, methodically slays the friars she encounters. She killed over 200 priestsDEPED COPYin a span of two years. Her infamous reputation has spread as the religious clergy cower in fear. Macatangay, who has also become a rebel leader for a different cause of achieving independence, joins forces with La Loba Negra. They continued in their ritual religious murders, singing the songs O Poong Maykapal, Kayong Mga Namumuno, and Hindi Na Malayo Ang Araw. The scene is transported back to the Prologue with Doña Luisa castigating the friar responsible for the seduction and rape of her daughter. Added to her earlier murders of the friars for the deaths of her husband and son, Doña Luisa’s vengeful emotions have now been purged out. When her daughter is wed to Sandugo, she has become one with the indios of her adopted country. Before she dies, Doña Luisa was heard singing Napakahaba ng Gabi. She speaks of a bright tomorrow after the long night as the chorus sings Sulong, Mahal Kong Kababayan. The music and libretto have closely collaborated to portray the dramatic moods in the opera. The dramatic moods are particularly depicted in the murder scenes that are effectively contrasted with the solemn sounds and religious fervor of the liturgical rites. The somewhat debatable moral issue of vengeance may perhaps be explained by the temporary insanity of Doña Luisa. It was caused by the brutal killings of her husband and son, wherein the Aztec god is portrayed as a scapegoat for the Christian purge. As librettist Asensio concluded: “The night is long but the sun will rise… and rise again in the East.” 147All 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.
MUSIC Quarter IV NOLI ME TANGERE, THE OPERA The three-act opera Noli Me Tangere was composed by National Artist Felipe Padilla de Leon, with libretto by National Artist Guillermo Tolentino. It premiered in 1957 at the FEU Auditorium. The cast included Juanita Javier Torres as Maria Clara, Don David as Ibarra, Fides Cuyugan Asensio as Sisa, Milo Cristobal as Padre (Father/priest) Damaso, and Morli Daram as the director. A scene from Noli Me Tangere, the opera There were other several productions that followed the premiere production. TheDEPED COPYperformance in 1987 was held at the CCP Main Theater from September 18 to 20, 1987 in cooperation with Music Theatre Foundation of the Philippines. Oscar C. Yatco conducted the Philippine Philharmonic Orchestra. The opera was directed by Jonas Sebastian. The production staff also included National Artist Salvador Bernal for Set and Costume Design, Dennis Marasigan for Lighting, and Sylvia Garcia-Nera for Overall Production. The cast of major characters included Nolyn Cabahug and Sal Myneo (Sal) Malaki alternating as Ibarra, Andion Fernandez/Nanette Moscardon-Maigue as Maria Clara, Fides Cuyugan-Asensio/Luz Morete as Sisa, Elmo Makil/Nomer Son as Elias, and Nomer Son/Jonathan Velasco as Padre Damaso. Jonas Sebastian as the director. The novel of national hero Dr. Jose Rizal, Noli Me Tangere, has been a source of many artistic productions and endeavors. From a silent film adaptation in 1915, it was the subject of a movie in 1961 directed by Gerardo de Leon. It won the 10th FAMAS Award for Best Film. It was first presented as an opera by National Artist for Music Felipe Padilla de Leon in 1957 and in 1987. It was later adapted in 1992 by National Artist for Film Eddie Romero in a 13-episode series for television. The novel also became the subject of musical plays and revivals. The opera had its US production premiered as Noli Me Tangere: The Opera at Harris Theater in Chicago on May 28, 2012. It was also staged at The Kaye Playhouse, Hunter College, New York City, USA last October 2013, and at the Resorts World in Manila in September 2014. 148 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.
20th and 21st Century Multimedia Forms The Novel Behind the Opera The title of Rizal’s novel Noli Me Tangere (Touch Me Not) was said to have originated from the Latin version of the words, originating from John 20:17. It was spoken by Jesus to Mary Magdalene who recognized Him after His Resurrection, reasoning to her “for I am not yet ascended to the Father.” The novel was written to expose the ills of the Spanish Catholic friars and the ruling government. It was finished in 1886. Rizal initially found it difficult to solicit moral and financial support from his friends, until Maximo Viola helped him with the printing. The printing of Noli was done in Berlin, Germany. The English version was later released to Australian Book Stores. After which, Penguin Books took on the tasks of publishing the novel to have its own translated version. The book was banned in the Philippines by the Spanish authorities for its supposedly subversive elements. This led to Rizal’s exile, imprisonment, and execution. Synopsis of the Opera Act IDEPED COPY A scene from Noli Me Tangere, the opera (Ibarra and Maria Clara)The spacious sala of Santiago de los Santos, otherwise known as Kapitan Tiago, in SanDiego, is the setting for the welcome reception. It was a gathering honoring the 22-yearold student Crisostomo Ibarra after a seven-year stay in Europe. The Gobernadorcilloand his wife Doña Victorina lead the guest list that includes Padre Damaso, vocal in hiscriticism of the Filipino whom he referred to as “indio” while also blaming theGobernadorcillo for interfering in their local affairs. He continues this harsh attitudeupon the arrival of Ibarra when he ignores the latter as he tries to greet the friar. 149All 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.
Search
Read the Text Version
- 1
- 2
- 3
- 4
- 5
- 6
- 7
- 8
- 9
- 10
- 11
- 12
- 13
- 14
- 15
- 16
- 17
- 18
- 19
- 20
- 21
- 22
- 23
- 24
- 25
- 26
- 27
- 28
- 29
- 30
- 31
- 32
- 33
- 34
- 35
- 36
- 37
- 38
- 39
- 40
- 41
- 42
- 43
- 44
- 45
- 46
- 47
- 48
- 49
- 50
- 51
- 52
- 53
- 54
- 55
- 56
- 57
- 58
- 59
- 60
- 61
- 62
- 63
- 64
- 65
- 66
- 67
- 68
- 69
- 70
- 71
- 72
- 73
- 74
- 75
- 76
- 77
- 78
- 79
- 80
- 81
- 82
- 83
- 84
- 85
- 86
- 87
- 88
- 89
- 90
- 91
- 92
- 93
- 94
- 95
- 96
- 97
- 98
- 99
- 100
- 101
- 102
- 103
- 104
- 105
- 106
- 107
- 108
- 109
- 110
- 111
- 112
- 113
- 114
- 115
- 116
- 117
- 118
- 119
- 120
- 121
- 122
- 123
- 124
- 125
- 126
- 127
- 128
- 129
- 130
- 131
- 132
- 133
- 134
- 135
- 136
- 137
- 138
- 139
- 140
- 141
- 142
- 143
- 144
- 145
- 146
- 147
- 148
- 149
- 150
- 151
- 152
- 153
- 154
- 155
- 156
- 157
- 158
- 159
- 160
- 161
- 162
- 163
- 164
- 165
- 166
- 167
- 168
- 169
- 170
- 171
- 172
- 173
- 174
- 175
- 176
- 177
- 178
- 179
- 180
- 181
- 182
- 183
- 184
- 185
- 186
- 187
- 188